Peavey Xr 560 User manual

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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