Peavey XR 560 User manual

X/?* 560
Powered Mixer

ENGLISH
Thank you for purchasing the Peavey XR® 560! The XR 560 is a six-channel mixer with a
variety of built-in features, including a dedicated line input channel (for a tape deck or other line
level device), 16-bit digital reverb with time and color controls, seven-band EQ featuring
Peavey's exclusive FLS ™ Feedback Locating System and a 150W power amplifier, all housed
in a rugged topbox package.
CHANNEL FEATURES (CHANNELS 1-5)
1. MIC INPUT
XLR balanced low impedance channel input optimized for a microphone or other
low impedance source. Pin 2 is the positive input. This connector has +15 V phantom
power supply on pins 2 and 3 at all times (pin 1 is the ground reference).
2. Hl-Z INPUT (CHANNELS 1 -2)/LINE INPUT (CHANNELS 3-5)
Fli-Z input -1/4" unbalanced input for use with high impedance microphones, acoustic/
electric guitars or other high impedance sources equipped with a 1/4" plug (TS).
Line input-1/4" unbalanced input that accepts line level sources equipped with a 1/4"
plug (TS). The two inputs (XLR and 1/4") cannot be used simultaneously.
3. GAIN
Sets the level of the individual channel in the mix. (Channels 1-6)
4. REVERB SEND
Sets the level of the internal reverb for the channel and must be used in conjunction
with the master reverb level. It is post gain and will be affected by the gain (3)
adjustment.

5.
MONITOR SEND
Controls the channel monitor mix level. It is independent of all channel functions,
allowing adjustment of the "house" mix without affecting the monitor mix.
(Channels 1-6)
6. LOW EQ
A shelving type of active tone control that varies the bass frequency levels ± 15 dB at
70 Hz. It will add depth to thin signals, or clean up muddy ones.
7. HIGH EQ
A shelving type of active tone control that varies the treble frequency level ± 15 dB at
12 kHz. It is designed to remove noise or to add brilliance to the signal, depending on
the quality of the source.
AUX CHANNEL FEATURES (CHANNEL 6)
8. C O N T OUR
The Aux Channel of the XR 560 is provided with a high-frequency contour control that
provides cut and boost at 10 kHz. This control is primarily designed to add brilliance or
to roll off the high end in order to avoid feedback problems caused by high-frequency
reflections off walls, ceilings, or other objects in the speaker/microphone acoustic
environment.
9. L I N E AND TAPE INPUTS
RCA and 1/4" jacks accept a stereo input from a CD player, tape deck or keyboard.
These inputs are summed internally into a mono signal.
CAUTION: Care should be taken not to record on a deck that has its outputs
connected to the line/tape input jacks and have the Channel 6 gain control turned up, or
Feedback will occur.
MASTER FEATURES
10. TAPE OUTPUTS
RCA output jacks that provide a monaural signal to the left and right inputs of a stereo
tape deck. This is the main signal taken before the Master Level and the graphic EQ.
11. REVERB FOOTSWITCH
Provided for connection of the optional remote footswitch. The footswitch is used to
activate/defeat the reverb.
12. M O N I T OR OUTPUT
This 1/4" unbalanced line level output can be used as a source for an external monitor

amplifier/speaker system. The level is determined by the channel monitor and master
monitor controls. There is no reverb or EQ in this signal.
13. MAIN OUTPUT
1/4" unbalanced output that can be used as a source for an external amplifier/speaker
system, feed to other mixers or a tape deck. This signal is taken before the graphic
EQ.
14. MASTER LEVEL CONTROL
Controls the overall volume level of the system.
15. POWER LED
Illuminates when AC power is being supplied to the mixer.
16. MASTER MONITOR LEVEL CONTROL
This is the master for all channel monitor sends and determines the overall monitor
mix level.
17. MASTER REVERB LEVEL CONTROL
Controls the amount of reverb that will be heard in the main mix.
18. PEAK LED
Illuminates when the signal being sent to the Digital Reverb is within 6 dB of clipping.
The Channel Reverb controls (4) set this level, which can blink red occasionally
without clipping.
19. REVERB TIME CONTROL
Controls the length of the reverb decay. Fully counterclockwise is the shortest
available decay, while fully clockwise is the longest available decay.
20. REVERB COLOR CONTROL
Controls the brightness of the reverb. Fully clockwise is the brightest reverb, while fully
counterclockwise results in a dark reverb.
21. FEEDBACK LOCATING SYSTEM
When feedback occurs, the LED of the frequency band that is feeding back will
illuminate, indicating the slider to be adjusted. The LED will remain illuminated
for a few seconds even after the feedback is gone. This is to allow you to see where
the feedback is if the feedback goes away before any correction is made. If there is
no feedback occurring, the LED of the frequency band with the most signal in it will
illuminate. Just because the LED is illuminated does not mean that there is feedback
occurring.

OPERATING THE FEEDBACK LOCATING SYSTEM
The feedback locating system is normally used in one of two ways.
1. To catch and reduce/eliminate feedback "on-the-fly" during a
performance.
2. To determine frequency bands that are susceptible to feedback before the
performance, and eliminate them in advance. This is done, after the system is
set up, by bringing up the microphone levels slowly to the point of feedback. As
they start to feedback, note the LED activity on the FLS. Move the faders to
decrease the "identified" bands. Now you have eliminated a high percentage of
potential feedback problems before the performance even begins.
NOTE: It is not uncommon for feedback to occur over several frequency bands. Also,
go easy when making fader adjustments, since extreme movements will affect your
performance and be counterproductive. Some feedback or ringing, although audible,
may not be louder than the other program material and may not light an LED.
22. 7-BAND GRAPHIC EQUALIZER
Provides ± 12 dB equalization at each center frequency. EQ boost is obtained by
moving a particular EQ band's slide control above the center line. EQ cut is obtained by
moving a particular EQ band's slide control below the center line.
OPERATION NOTE: This equalizer is designed to provide room equalization, feedback
control and system tone control. No amount of equalization will correct the response
curve of a poor loudspeaker. Always begin with all sliders in the "0" position and avoid
excessively cutting large segments of the audio passband, which would limit the
system's dynamic range.

1. POWER SWITCH
Used to turn AC mains power on or off.
2. FUSE
A The fuse is located within the cap of the fuseholder. If the fuse should fail, IT MUST BE
REPLACED WITH THE SAME TYPE AND VALUE IN ORDER TO AVOID DAMAGE
TO THE EQUIPMENT AND TO PREVENT VOIDING THE WARRANTY. If the amp
repeatedly blows fuses, it should be taken to a qualified service center for repair.
A WARNING: THE FUSE SHOULD ONLY BE REPLACED WHEN THE POWER CORD
HAS BEEN DISCONNECTED FROM ITS POWER SOURCE.
3. A C LINE CORD SOCKET
Provided to accept the removable AC line cord. Connect only to proper source--see
back panel markings.
4. S P E A K E R OUTPUTS
Two parallel 1/4" jacks are provided at the output of the power amplifier. Minimum
speaker impedance is 4 ohms.

XR 560
Applications Guide
Output
from
Back of
XR 560
Output
from
Back of
XR 560
From
Monitor
Out
Main Speaker
Main Speaker
Keyboard Module
On/Off for
Digital Reverb
Foot Switch
Power Amp
Acoustic/Electric
Guitar
t£
u
1 B
' ■ ¥
:
“-~3
r~o 'Fo
r:0
Monitor
Monitor

XR 560 Input Specifications:
Function
Input Z
(ohms)
Min
Input gain
setting
Input Levels
(to unbal outputs)
Min ** Nominal* Max
Bal/
Unbal
Connector
Microphone 2K
Max gain
(50dB)
-58dBu -30dBu
-8dBu
Bal
XLR Pin 1 Gnd
Pin 2 (+),
Pin 3 (-)
HI-Z
220K
Max gain
(30dB)
-38dBu
-8dBu
+12dBu
Unbal
1/4" TS,Tip (+),
Sleeve Ground
Line 10K
Max gain
(20dB)
-28dBu
+2dBu
+22dBu
Unbal
1/4" TS; Tip (+),
Sleeve Ground
Aux Input
100K
Max gain
(20dB)
-26dBu
-i-2dBu
+22dBu
Unbal
1/4" TS; Tip (+),
Sleeve Ground
Tape 100K
Max gain
(20dB)
-26dBu
-i-2dBu
+22dBu
Unbal
RCA Jacks
Norn output: 2dBu= 0dBV=1 V
** Min input level (Sensitivity) is the smallest signal that will produce nominal output (2dBu) with channel and master controls
set for maximum gain.
* Nominal settings are defined as all controls set at 0 dB (or 50% rotation for rotary pots).
XR 560 Output Specifications:
Function
Minimum
Load Z
(Ohms)
Output Level
Nominal Max
Bal/
UnBal
Connector
Main
600
+2dBu -F22dBu
Unbal
1/4" TS: Tip(+)
Sleeve Ground
Monitor
600
+2dBu
+22dBu
Unbal
1/4" TS: Tip(-H)
Sleeve Ground
Tape
10k
-lOdBV
+10dBu
Unbal
RCA
2dBu=0dBV=1V (RMS)
Gain:
Mic Input to Main Output
Hi-Z Input to Main Output
Line Input to Main Output
Aux Input to Main Output
Frequency Response:
Mic Input (XLR) to Main Output
Line Input to Main Output
60dB (Max Gain)
40dB (Max Gain)
30dB (Max Gain)
30dB (Max Gain)
20Hz to 20KHZ +0dB/-1dB
20Hz to 20KHZ +0dB/-1dB
Total Harmonic Distortion (THD):
< 0.02% 20Hz to 20KHz Mic to Main/Monitor output at Nominal Level (22Hz - 80KHz BW)
< 0.01% 20Hz to 20KHz Line to Main/Monitor output at Nominal Level (22Hz - 80KHz BW)
< 0.005% typical at 1 KHz

Hum and Noise:
Output Residual Noise
Ref: OdBu
S/N Ratio
Ref: 2dBu
Test Conditions
Main -lOOdBu
102dB
All controls down
-90dBu
92dB
One channel nominal
Master level nominal
Monitor
-96dBu
98dB
All controls down
-90dBu
92dB
One channel send nominal,
Monitor master nominal
(Hum and Noise Measurements: 22Hz to 22KHz BW)
Norn output: 2dBu= 0dBV=1 V
S/N ratio
>85dB below rated output (150WRMS) Mic to Speaker output
>90dB below rated output (150WRMS) Line to Speaker output
Equivilent Input Noise (EIN):
-115.5 dBu (Input terminated with 150 Ohms)
Common Mode Rejection Ratio (Mic Input):
65dB min (20Hz - 20KHz)
85dB typ @ 1 KHz
Power Amp Specifications: 150M Module with DDT
Power and Load:
90W RMS into 8 ohms
150W RMS into 4 ohms
2 ohms not recommended
Frequency Response:
20HZ-20KHZ +0dB/-1dB
Total Harmonic Distortion (THD):
<0.03% at rated output @ 1 KHz
Power Requirements:
DOM: 120VAC60HZ 250 Watts Max
EXP: 220-230VAC/240VAC 50/60Hz 250 Watts Max