Peavey XR-700 User manual
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.
II
should
bo
remembered
that
the
active
equalization
circuits
are
a
form
of
“electronic
crossover"
in
which
the
equalization
controls
are
similar
to
level
controls
for
their
respective
frequency
bands.
Generally,
it
is
poor
operating
practice
to
use
both
high
and
low
equalizer
controls
I
n
the
deep
cut
(counterclockwise)
positions
since
this
results
in
substantially
lower
gain
from
the
channel.
It
should
be
remembered
that
the
balance
of
highs
and
lows
is
a
relative
situation:
cutting
overall
gain
should
be
done
by
the
channel
level
controls.
LOW
FREQUENCY
CONTROLS
(C)
The
low
frequency
control
is
capable
of
better
than
15
dB
boost
or
cut
@
60
Hz
with
a
sloping
characteristic
exhibited
up
to
the
crossover
point.
The
Shelving
action
of
this
control
has
proven
to
yield
a
much
more
satisfying
and
effective
equalization
characteristic
than
some
of
the
'\vide
open"
equalization
circuits
claiming
20
-
25
dB
boost
and
cut.
The
action
of
this
equalization
control
is
conventional
and
should
present
no
problem
in
operation.
Boost
is
obtained
with
a
right
hand
(clockwise)
rotation
from
center
position,
while
cut
is
obtained
with
a
left
hand
(counterclockwise)
rotation
from
center
position.
Flat
response
is
obtained
when
theequalization
control
is
in
the
vertical
(12:00o’clock)
position.
MID
FREQUENCY
CONTROLS
(D)
The
mid
frequency
control
is
capable
of
15
dB
boost
or
cut
@
600
Hz
with
a
peak/notch
type
of
filter
response.
This
middle
EQ
circuit
enables
control
over
the
vital
midrange
frequencies.
The
action
of
this
middlefilter
is
somewhat
different
than
the
high
and
low
EQsince
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
midrange.
Experience
has
proven
that,
for
most
applications,
a
very
slight
midrange
cut
tends
to
produce
a
"tight"
and
well-defined
sound.
Generally,
large
amounts
of
midrange
boost
are
extremely
unpleasant
and
will
probably
never
be
used
except
for
special
effects
or
to
correct
for
extremely
marginal
microphones
or
unusual
voice
timbres.
Boost
is
obtained
with
a
right
hand
(clockwise)
rotation
from
center
position,
while
cut
is
obtained
with
a
left
hand
(counterclockwise)
rotation
from
center
position.
Flat
response
is
obtained
when
theequalization
control
is
in
the
vertical
(12:00
o’clock)
position.
HIGH
FREQUENCY
CONTROL
(E)
The
high
frequency
control
is
capable
of
15
dB
boost
or
cut
@
8
KHz
with
a
shelving
characteristic
sloping
down
to
the
crossover
point.
The
action
of
this
control
is
very
similar
to
that
of
the
low
equalizer
with
the
exception
of
its
high
frequency
effect.
Boost
is
obtained
with
a
right
hand
(clockwise)
rotation
from
center
position,
while
cut
is
obtained
with
a
loft
hand
(counterclockwise)
rotation
from
center
position.
Flat
response
is
obtained
when
theequalization
control
is
in
the
vertical
(12:00
o'clock)
position.
CHANNEL
EFFECTS
CONTROL
(F)
The
channel
effects
send
control
adjusts
the
signal
level
applied
to
the
effects
mix
buss
which
feeds
the
internal
reverberation
system,
as
well
as
the
effects
output
on
the
patch
panel.
The
overall
settings
of
the
channel
effects
send
controls
determine
the
amount
of
reverb
drive
as
well
as
the
signal
output
level
available
from
the
effects
output
jack.
It
is
important
to
note
that
the
effects
send
control
is
a
■
post"
type
adjustment
whicn
is
located
in
the
circuit
after
the
channel
level
and
equalizationcontrols.
The
user
should
be
aware
thatuse
of
the
internal
reverberation
system
can
only
occur
when
the
channel
level,
the
channel
effects
send,
the
master
effects
level,
the
master
reverb
return,
and
the
master
gain
controls
are
all
properly
adjusted.
MASTER
SECTION
The
master
section
of
the
XR-700
contains
all
of
the
master
controls
for
the
respective
mixing
busses
and
additional
supplementary
controls
to
allow
other
special
functions
to
be
achieved.
The
master
level
controls
should
be
set
near
the
center
of
their
range
to
take
advantage
of
maximum
control
action.
This
setting
offers
the
best
compromise
between
signal-to-noise
ratio
and
headroom
limits.
Remember
that
while
mixing,
it
is
important
to
allow
yourself
adequate
"margins"
within
which
to
operate.
By
using
any
of
the
controls
in
their
extreme
(close-to-stop)
positions,
you
have
effectively
reduced
your
operational
latitude.
As
with
any
reasonably
complex
system,
experience
and
operator
knowledge
of
tho
equipment
are
essential
for
satisfactory
performance.
The
mixer,
like
the
musician’s
instrument,
should
be
practiced
on
and
learned
To
properly
operate
a
mixer
during
a
performance
requires
thorough
Knowledge
and
trained
reflexes
lo
alow
proper
responses
underthestress
of
demanding
and
sometimes
sudden
situations.
MAIN
MASTER
LEVEL
CONTROL
(G)
The
main
level
control
adjusts
the
gain
of
the
main
mixing
buss
and
determines
the
level
at
the
main
line
output
jack
(10).
as
well
as
determining
the
signal
level
applied
to
the
input
of
the
graphic
equalizer/power
amplifier.
This
control
is
the
master
level
control
and
generally
should
be
operated
in
the
center
of
its
range
for
best
performance.
MONITOR
MASTER
LEVEL
CONTROL
(H)
The
monitor
master
control
adjusts
the
gain
of
the
monitor
mixing
buss
and
determines
the
level
of
the
signal
to
the
monitor
graphic/power
amp
as
well
as
the
signal
available
from
the
monitor
output
jack
(10).
The
operation
of
this
control
and
its
independent
channel
sends
is
identical
to
that
of
the
main
with
the
exception
that
its
output
is
applied
to
the
monitor
line
output
jack
and
to
the
monitor
EQ/power
amp.
Like
the
main,
it
should
be
operated
in
the
center
of
its
range.
EFFECTS
MASTER
LEVEL
CONTROL
(I)
The
effects
master
control
sets
the
signal
level
applied
to
the
internal
reverberation
system
and
the
effects
output
jack
(6).
It
is
important
to
note
that no
reverb
effect
or
effects
signal
will
result
unless
su
itable
settings
of
the
master
effects
control
are
used.
The
action
of
ths
control
is
similar
to
both
the
main
and
monitor
master
controlsand
may
be
used
accordingly
todetermine
the
overall
output
level
of
the
effects
mix
buss.
REVERB
RETURN
CONTROL
(J)
The
reverb
return
control
determines
the
amount
of
delayed
signal
(reverberation)
that
is
mixed
back
into
the
main
mix
buss.
The
action
of
this
control
(J)
is
defeated
by
use
of
a
remote
switch
being
plugged
into
the
footswitch
jack
(4)
located
on
the
rear
panel.
It
is
important
to
note
that
no
reverberation
will
occur
unless
the
internal
delay
line
is
being
fed
signal
from
the
channel
effects
send
and
effects
master
controls.
The
reverb
return
control
does
not
affect
the
level
available
from
the
effects
output
jack
(6)
located
on
the
patch
panel.
REVERB
CONTOUR
(K)
This
control
Is
used
to
vary
the
'timbre’'
of
the
reverb
drive
circuitry
to
facilitate
precise
matching
of
the
reverb
circuitry
to
various
program
material.
Experimentation
will
illustrate
the
many
advantages
of
this
unique
feature.
EFFECTS/REVERB
TO
MONITOR
(L)
This
control
allows
blending
of
the
internal
reverberation
signal
and
signals
from
the
effects
return
circuit
back
into
the
monitor
mixing
buss
for
those
who
do
not
prefer
a
"dry"
monitor
signal.This
unique
feature
provides
greatly
enhanced
monitoring
capability
since
it
allows
the
performer
to
hear
the
same
effects
in
his
monitor
as
being
utilized
in
the
main
output
signal.
EFFECTS
RETURN
(M)
The
effects
return
control
determines
the
gain
of
the
effects
return
preamplifier.
This
high
impedance
auxiliary
input
preamp
feeds
the
main
mixing
buss
and
is
applied
to
Ihe
monitor
buss
through
the
effects/reverb
to
monitor
control.
This
unequalized
auxiliary
input
channel
is
primarily
intended
for
receiving
signal
from
external
effects
units
but
also
works
extremely
well
with
tape
recorders,
phono
preamps,
etc.,
etc.
When
a
tape
is
used.
It
is
possible
to
blend
the
tape
signal
back
into
the
monitor
mix.
thus
allowing
the
performer
to
prerecord
various
voices
or
instruments
and
then
utilize
this
signal
in
both
main
and
monitor
systems
during
a
performance.
GRAPHIC
EQUALIZERS
(N)
The
two
seven-band
equalizers
are
of
the
latest
active
type
and
exhibit
performance
comparable
to
that
found
in
the
finest
professional
equipment.
The
graphic
equalizers
are
ocated
in
the
circuit
just
before
the
internal
100
watt
RMS
(@
4
ohms)
power
amplifiers
and
provide
a
very
versatile
and
professional
equalization
of
the
overall
system.
Because
of
the
flexibility
built
into
the
XR-700,
several
different
modes
of
operation
are
possible.
NORMAL
MODE
Under
normal
operating
conditions
(no
paten
connections),
the
graphic
equallzers'power
amplifiers
are
connected
through
the
graphic
input
switching
jacks
to
the
main
outputs.
These
signals
are
derived
from
the
main
mixing
busses
and
are
controlled
Dy
the
master
level
controls.
MONITOR
OPERATION
The
graphic
equalizers
and
internal
power
amps
may
be
used
to
power
external
systems
This
is
done
by
simply
patching
from
the
external
device’s
outputs
to
the
graphic
inputs
using
shielded
patch
cables
When
these
patches
are
accomplished,
the
signals
from
the
internal
mixing
busses
are
available
only
at
the
output
jacks
on
the
patch
panel
and
can
then
be
used
in
conjunction
with
external
power
amps,
equalizers,
or
other
accessories
MASTER
EQUALIZATION
The
master
graphic
equalizers
are
designed
to
provide
room
equalization,
effective
feedback
control,
and
overall
system
frequency
balance.
It
is
important
to
note
that
there
are
no
firm
operating
instructions
that
will
result
in
the
deal
EO
for
each
and
every
set
of
operating
conditions.
Experimentation
with
adequate
understanding
of
the
graphic
equalizer
is
necessary
to
achieve
optimum
results.
No
amount
of
equalization
will
totally
correct
an
acoustically
bad
room/mic/speaker
arrangement
or
completely
correct
the
response
curve
of
a
poor
loudspeaker.
Please
make
sure
that
the
power
amplifier
has
adequate
headroom
to
handleany
boost
that
may
be
incurred.
Ifyou
boost
100
Hz
by
3
dB.
your
power
requirement
will
double.
As
an
example:
If
your
normal
performing
level
requires
100
watts,
the
power
required
after
only
a
3
dB
equalization
boost
will
be
200
watts.
You
should
always
begin
operation
with
the
equalizers
in
the
”0"
or
center
position.
It
Is
wise
to
avoid
excessive
cutting
of
large
segments
of
the
audio
passband
since
this
tends
to
reduce
the
dynamic
range
of
the
system
Also,
it
is
better
to
raise
the
master
level
control
rather
than
to
use
the
majority
of
the
equalizers
in
the
boost
position
since
better
overall
signai-to-roise
ratio
will
result.
As
with
any
equalizer,
caretul
experimentation
and
a
little
common
sense
will
yield
the
best
results.
FEEDBACK
CONTROL
Graphic
equalizers
can
be
used
to
great
advantage
tor
feedback
suppression
The
whole
point
of
feedback
equalization
is
to
obtain
the
highest
system
gain
before
feedback.
In
essence,
this
requires
the
total
system
response
to
be
as
flat
as
possible
The
following
procedure
is
given
as
a
guide
only'
Use
common
sense
andtake
your
time
when
attempting
theequalization
process
and
your
chances
of
obtaining
the
desired
results
will
be
very
good
Adjust
all
channel
equalization
and
graphic
equalizer
controls
for
an
indicated
flat
response,
and
slowly
bring
up
the
level
by
use
of
the
channel
or
master
lovol
controls
until
ihe
system
starts
to
go
into
feedback.
Then
very
slowly
adjust
each
section
ot
the
graphic
equalizer
until
you
find
the
one
that
has
the
most
effect
on
the
feedback.
Return
all
other
sections
to
the
flat
position
and
bring
up
the
gain
until
the
system
again
goes
into
feedback
Repeat
the
procedure
and
equalize
out
the
second
and
third
feedback
modes
and
more
if
necessary
WARNING!
You
should
never
have
to
cut
more
than
6
to
9dB
under
normal
conditions.
If
more
cut
is
necessary,
check
for
proper
phasing
of
the
speaker
system
and
microphone
positioning
One
improperly
phased
speaker
can
cause
unending
feedback
problems.
Do
not
expect
to
obtain
a
system
that
is
completely
free
of
feedback.
Even
the
finest
1
octave
graphic
equalizers
can
only
do
so
much.
In
short,
don’t
expect
miracles
..
“DDT
"
COMPRESSION
(O)
The
XR-700
is
acompact
and
powerful
system
which
features
100
watts
RMS
output
per
channel
power
amplifiers
(@4ohms)
with
a
n8w
type
of
dynamic
compression.
The
compression
effect
enables
us
to
maximize
theperformanceof
the
amp/speaker
combination.
We
have
determined
through
much
research
that
the
compression
circuitry
should
prevent
the
power
amps
from
running
out
of
headroom
(clipping)
and
should
be
as
simple
to
operate
as
possible
to
avoid
undue
complication
for
the
user.
The
compression
system
is
activated
by
our
exclusive
“Distortion
Detection
Technique”
(DDT»)
circuit
(patent
applied
for)
that
senses
overload
conditions
and
activates
compression
when
clipping
is
imminent.
In
other
words,
compression
takes
place
whenever
signal
conditions
exist
which
prevent
the
amplifiers
from
faithfully
reproducing
the
input
signal.
The
threshold
is
the
clipping
level
itself
and
no
specific
threshold
control
is
provided.
This
technique
effectively
utilizes
every
precious
watt
available
from
the
power
amps.
Because
of
the
dynamics
of
music
and
vocal
program
material,
it
is
quite
common
to
activate
the
compression
circuitry
virtually
constantly
during
a
performance
sincothis
is
what
it
is
designed
to
do;
i
e..
operate
to
maximize
the
dynamics
available
from
the
amplifiers
within
their
power
output
capabilities
regardless
of
power
supply/line
mains
voltage
variations
and
load
impedance
selection.
COMPRESSION
LED
INDICATORS
(P)
The
compression
LED
(light
emitting
diode)
indicators
show
when
compression
takes
place.
As
long
as
gain
reduction
isoccurrmg,
the
LED’s
will
continue
to
illuminate,
thereby
giving
a
valuable
indication
of
this
unique
compression
function.
PILOT
LED
(O)
The
pilot
LED
indicates
when
the
electrical
supply
is
switched
on
and
is
actually
delivering
power
to
the
amplifier.
LED
LEVEL
DISPLAYS
(R)
The
XR-700
features
dual
ten-segment
LED
(light
emitting
diode)
level
Indicators.
These
all
electronic
displays
have
no
moving
parts
with
resulting
inertia
as
do
conventional
VU
meters,
and
provide
instantaneous
indication
of
output
signal
conditions
instead
of
the
“delayed''
average
type
response
of
older
VU
level
indicators.
HEADPHONE
LEVEL
(S)
This
control
determines
the
drive
available
from
either
headphone
jack.
It
is
important
to
note
that
this
control
sets
the
level
of
both
main
and
monitor
headphone
jacks
and
operates
as
a
sublevel
off
the
two
internal
power
amplifiers.
NOTE:
Both
headphone
jacks
are
of
the
stereo
(two-circuit)
type
but
have
been
bridged
to
provide
a
mono
signal
to
stereo
phones.
Those
jacks
will
accommodate
any
known
headphones
with
impedances
of
4
ohms
or
greater.
(Mono
phones
will
also
work
with
this
system.)
Both
headphone
jacks
may
be
used
simultaneously.
MONITOR
HEADPHONE
JACK
(T)
This
jack
provides
headphone
level
signal
from
tne
monitor
amplifier
whose
level
may
be
set
with
the
headphone
level
control.
MAIN
HEADPHONE
JACK
(U)
This
jack
provides
headphone
level
signal
from
the
main
amplifier
whose
level
may
be
se;
with
the
headphone
level
control
REAR
PANEL
The
rear
panel
of
the
XR-700
contains
all
the
interface
connections
toand
from
the
electronic
circuitry.
All
Peavey
consoles
feature
inputs
and
outputs
on
the
rear
of
the
console
chassis.
From
the
manufacturing
standpoint,
*t
is
far
easier
and
considerably
less
expensive
to
position
mic
inputs
on
the
front
of
the
chassis
as
many
of
our
competitors
havechosen
to
do.
By
having
inputson
the
front
of
a
console
type
mixer,
the
operator
(when
seated)
must
contend
with
a
"lap
full”
of
cables
and
wires,
etc.,
which
does
not
lend
itself
to
professionalism
nor
operator
convenience.
Tne
versatility
offered
by
the
XR-700
is
unmatched
Dy
any
competing
unit
ana
a
thorough
understanding
of
the
various
features
is
essential
in
order
to
fully
utilize
the
performance
and
versatility
of
this
unit.
INPUT
SECTION
(1)
Each
channel
of
the
XR-700
features
both
balanced
(symmetrical)
low
impedance
(600
ohms)
as
well
as
high
impedance
(5CK
ohms)
unbalanced
inputs.
Each
of
these
inputs
feature
extremely
wide
dynamic
range
and
are
fully
transient
protected
to
insure
durability
under
road
conditions.
While
these
inputs
are
intended
primarily
for
microphones,
they
will
also
work
nicely
for
many
other
types
of
program
sources
NOTE
DO
NOT
ATTEMPT
TO
CONNECT
THE
OUTPUT
OF
MAGNETIC
PHONO
CARTRIDGES
DIRECT
TO
EITHER
INPUT
SINCE
THESE
CARTRIDGES
REQUIRE
RIAA
EQUALIZATION
PRIOR
TO
INSERTION
INTO
UNITS
SUCH
AS
THIS
THE
PREAMP
CIRCUITRY
OF
THIS
UNIT
FEATURES
SUFFICIENT
GAIN
TO
OPERATE
WITH
MAGNETIC
PHONO
CARTRIDGES
BUT
DOES
NOT
HAVE
THE
SPECIAL
RIAA
EQUALIZATION
SO
NECESSARY
TO
REALIZE
MAXIMUM
PERFORMANCE.
SMALL
"PREAMP/EQUALIZERS"
ARE
AVAILABLE
FROM
MOSTELECTRONIC
SUPPLY
HOUSES
THAT
PERFORM
THIS
RIAA
EQUALIZATION
FUNCTION
VERY
INEXPENSIVELY.(SUGGEST
SHURE
MODEL
M-64,
RADIO
SHACK
PHONO
PREAMP
MODEL
NO.
422101,
OR
EQUIVALENT.)
CHANNEL
PATCHING
(OUT/IN)
JACKS
(2)
Each
input
channel
of
the
XR-700
has
been
provided
with
a
dual
circuit
(stereoswitching
type)
jack
that
provides
a
channel
send
and
return
to
allow
in
line
patching
ol
auxiliary
effects,
equalizers,
etc.
These
jacks
accept
the
standard
"ring-tip-sleeve
'type
stereo
plugs.
When
a
stereo
plug
is
inserted
into
the
out/in
jack,
the‘tip”
of
the
plug
is
connected
to
the
channel
send
and
the
"ring"
is
connected
to
the
channel
return,
while
the
“sleeve"
is
the
common
ground
for
both
send
and
return
If
a
channel
output
is
desired
for
an
additional
monitor
serdor
a
direct
output
without
breakingthe
internal
link,
thiscan
be
accomplished
by
plugging
a
standard
phone
plug
into
the
first
detent
(click)
of
the
jack.
This
unique
send/receive
system
enables
interface
ol
the
XR-700
individual
channels
with
a
wide
variety
of
auxiliary
effects
and
equipment.
The
effect've
output
impeCanc9
is
approximately.
600ohms
at
a
level
of
1
volt
while
the
input
is
approximately
50K
ohms
with
a
1
volt
sensitivity.
AUXILIARY
INPUTS
(3)
The
auxiliary
inputs
are
line
level
access
points
to
the
three
internal
mixing
busses.
They
arethe
medium
impedance
type
(33K
ohms)
and
are
provided
to
allow
paralleling
mixers
or
for
any
other
purpose
that
requires
direct
signal
injection
to
the
internal
mixing
busses.
REVERB
FOOTSWITCH
(4)
To
facilitate
remote
control
of
the
reverberation
function
we
have
included
a
remote
control
footswitch
jack.
Any
standard
singlepole
footswitch
may
be
used
to
remotely
defeat
the
reverb
function.
Please
note
that
this
switch
disables
the
reverb
system
only
and
has
no
effect
whatever
on
the
effects
system.
EFFECTS
RETURN
(5)
The
effects
return
on
the
rear
panel
is
the
input
to
the
effects
return
preamp
which
has
its
own
level
control
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
(22DK
ohms).
The
effects
return
system
connects
to
the
main
mixing
buss
and
is
intended
for
use
when
returni
ng
signals
from
external
devices
to
the
main
mix.
Effects
return
signal
may
also
be
mixed
into
the
monitor
system
via
the
effects/reverb
to
monitor
control
(H).
EFFECTS
OUTPUT
(SEND)
JACKS
(6)
Two
output
jacks
from
the
effects
buss
are
provided
to
enable
matching
to
professional
line
level
as
well
as
instrument
level
effects
devices.
The
high
level
iack
is
a
relatively
low
impedance
(600
ohms)
and
is
capable
of
more
than
2
volts
RMS.
while
the
low
level
output
jack
provides
approximately
0.5
volts
RMS
at
10K
ohms
impedance.
SUM
OUTPUT
JACK
(7)
For
added
convenience,
the
XR-700
features
a
main/monitor
sum
output
tc
provide
a
mix
of
both
main
and
monitor
systems
for
feed
to
various
external
devices
This
feature
allows
a
high
level
signal
to
be
fed
tc
remote
locations
to
enable
remote
listening
to
the
total
program
material
being
mixed
through
the
XR-7Q0.
In
addition,
this
sum
feature
allows
tape
recording,
etc,
while
the
normal
main
and
monitor
master
outputs
are
being
used
for
other
purposes.
POWER
AMP
INPUTS
(8)
Each
power
amp
in
the
XR-700
features
an
input
jack
to
facilitate
patching
in
other
signals.
The
power
amp
input
jacks
are
of
the
switching
type
that
are
normally
internally
connected
to
the
graphic
outputs.
Whenever
plugs
a*e
inserted
into
the
power
amp
inputs,
these
connections
are
broken
and
the
power
amp
input
jacks
feed
directly
to
the
internal
power
amplifiers.
This
unique
feature
enables
either
of
the
power
amps
to
be
patched
separately
as
needed
within
the
system.
GRAPHIC
INPUTS
AND
OUTPUTS
(9)
Each
graphic
of
the
XR-700
has
been
equipped
with
patching
jacks
both
at
the
input
and
the
output
to
allow
patching
either
graphic
elsewhere
within
the
system.
The
graphic
inputs
are
of
relatively
high
impedance
type
(50K
ohms)
and
requi
re
approximately
a
1
volt
RMS
nominal
level.
The
graphic
outputs
are
low
impedance
type
(600
ohms).
The
graphic
inputs
are
of
the
switching
type
that
are
normally
internally
connected
to
the
main
end
monitor
outputs
Insertion
of
a
plug
into
a
graphic
in
jack
disconnects
the
graphic
from
the
preceding
circuitry
making
the
graphic
independent
of
the
mixer
section.
MASTER
OUTPUTS
(10)
The
master
outputs
deliver
signal
from
the
main
and
monitor
mixing
amplifiers
and
may
be
considered
the
primary
signal
outputs
from
each
respective
buss.
The
output
level
is
relatively
low
impedance
(6X)0ohms)
and
is
capable
of
better
than
4
volts
into
a
600
ohm
load,
with
considerably
higher
levels
available
into
higher
load
impedances.
Signal
from
these
outputs
is
normal
ly
patched
to
the
graphic
in
switching
jacks
to
complete
the
signal
flow
to
the
graphic
equalizer/power
amp
combination
Connection
of
external
devices
such
as
tap©
decks,
etc.,
to
these
outputs
will
in
no
way
aftect
the
normal
operation
of
the
XR-70O’s
other
systems.
POWER
AMP
OUTPUTS
(11)
The
power
amp
output
tacks
are
provided
as
a
means
of
connecting
speaker
systems
to
the
two
internal
100
watt
power
amps.
Each
power
amp
has
two
output
jacks
which
are
wired
in
parallel.
The
internal
amplifiers
are
designed
tor
4ohm
total
ioads
and
each
amplifier
will
supply
maximum
power
into
this
impedance.
afferent
impedances
may
be
used
with
the
internal
amplifiers
with
some
sacrifice
in
output
power.
Caution
should
be
observed
in
using
lower
than
4
ohm
tota
;
loads
since
this
tends
to
increase
the
heat
dissipation
as
well
as
enhancing
the
possibility
of
energizing
the
power
amplifiers’
internal
short
circuit
and/or
thermal
overload
protection
systems.
It
is
vital
that
the
wire
gauge
of
the
speaker
connection
cables
be
as
large
as
practical
and
that
thelength
of
the
connecting
cables
be
reasonably
short.
Significant
sacrifices
in
performance
will
result
with
smaller
wires
and/or
long
speaker
cable
runs.
CAUTION
TO
INSURE
MAXIMUM
POWER,
INTERFACE
SPEAKER
CABLING
SHOULD
BE
KEPT
AS
SHORT
AS
POSSIBLE
AND
THE
LARGEST
PRACTICAL
WIRE
SIZE
SHOULD
ALWAYS
BE
USED
HIGH
LEVEL
AMPLIFIERS
GENERATE
EXTREMELY
HIGH
CURRENTS
WHICH
ARE
GREATLY
AFFECTED
BY
THE
RESISTANCE
OF
THE
SPEAKER
CONNECTION
WIRING.
CAUTION
UNDER
NO
CIRCUMSTANCES
IS
IT
RECOMMENDED
THAT
THE
POWER
AMPLIFIERS
IN
THIS
POWERED
MIXING
SYSTEM
BE
USED
WITH
EXTREMELY
LONG
SPEAKER
CABLES
OR
WITH
“‘SNAKE’’
INPUT/OUTPUT
MULTICABLES.
FUSE
(12)
The
fuse
is
located
w<thin
the
cap
of
the
fuseholder.
It
is
necessa'y
that
the
luse
be
replaced
with
theproper
type
and
value
if
It
should
fail
in
order
to
avoid
damage
to
the
equipment
and
to
prevent
voiding
the
warranty.
If
your
unit
repeatedly
blows
fuses,
it
should
be
taken
to
a
qualified
service
center
for
repair
POWER
SWITCH
(13)
On
domestic
units,
the
power
switch
is
of
the
three-position
type
with
the
center
position
being
"OFF
."
This
switch
has
two
"ON"
positions,
one
of
which
is
used
to
ground
the
amplifierproperly.
Oneof
the
"ON"
positions
will
yield
the
lowest
amount
of
residual
hum
or
•
pepping”
when
the
mic
or
mixer
is
touched
and
this
is
the
position
that
should
be
used.
On
export
models,
we
utilize
a
simple
ON/OFF
switch
that
does
not
have
multiple
"ON"
positions
since
the
grounding
(earthing)
conditions
in
most
countries
are
made
positively
through
standard
tamper-proof
plug-m
systems.
LINE
CORD
(14)
For
your
safety,
we
have
incorporated
a
three-wire
line
(main)
cable
with
proper
grounding
facilities.
It
is
nol
advisable
to
removethe
ground
pin
under
any
circumstances.
If
it
is
necessary
to
use
the
amp
in
a
two-pin
plug
system
without
proper
grounding
facilities,
suitable
grounding
adaptors
should
be
used.
Much
less
noise
and
greatly
reduced
shock
hazard
exist
when
the
unit
is
operated
with
the
proper
grounded
receptacles.
DANGER
EXPOSURE
TO
EXTREMELY
HIGH
NOISE
LEVELS
MAY
CAUSE
A
PERMANENT
HEARING
LOSS
INDIVIDUALS
VARY
CONSIDERABLY
IN
SUSCEPTIBILITY
TO
NOISE
INDUCEO
HEARING
LOSS.
BUT
NEARLY
EVERYONE
WILL
LOSE
SOME
HEARING
IE
EXPOSED
TO
SUFEICIENTlY
INTENSE
NOISE
FORA
SUFFICIENT
TIME
THE
U
3
GOVERNS/ENT’S
OCCUPATIONAL
SAFETY
A
NO
HEALTH
AOMi
WSTAATlON
lOSHAJ
HAS
SPECIFIED
THE
FOLLOWING
PERMISSIBLE
NOISE
LEVEL
EXPOSURES.
DURATION
PER
DAY
IN
HOURS
SOUND
LEVEL
CIBA.
SLOW
RESPONSE
a:
92
93
9
r
®I>IE*CE33
IMPOSED
TOl
OPERATION
»y
EXPOSURE
ipj[
)»IS
IN
THE
EAR;©
l#T|ELIMa3A»*
M»PMEN~
C«W
«OF
THE
Ai
(OR
OVER
TF
3RTH
A
DOVE
■
PR0DUCIN<
;;pERMissieg
RSUUST
BG-tt
SSuREAGA*
H
SOUND
Pltf
JNSTRUCT^
lNA«.‘UXTEf
3UA.I2AT|<J
ft
THE
QAIfi
PLAYING
L
AND
POSS"
FORE
NOT
mystronj
•"
<•
■
'"'i^/'
rec^^^d
Thai
L
ainteo^slirfa^^^or
any
oth'^^TXpe^thdcsig^^^r
such
aLpl'i^ations
MEDIUM
OR
LIGHT
ADHESIVE
MASKING
CW
MUER
LABEL
TAPE
IS
REC0MMEN06O
IF
TAPE
S
USED
ANY
TAPE
LEFT
ON
PAINTED
SURFACE
FOR
EXT
ENDED
PERI
OOS
WILL
PEOlFFlCULT
TO
REMOVE
NEVER
USE
CLEAR
OR
SCOTCH
TAPE
FOR
THESE
APPLICATIONS
IG
CONSOLE.PREAMP
1
t)ATE
S
GNA|
a^e
clippin:
|.MAXIMUM
«i
POLS
IF
THE
:
(no
iv
idual
e;
jfiT
THE
PAINT
JARE^^to
:
SIGNAt-M#
ilELS
Wn'H’M
BE
FACSPLAT
?ND
THAT
SCOTCH
TARE
NO'
,
HOR
ANY
OTHER
TAPE
THAT
IS
NC
■
CIALLY
DESIGNED
FOR
SUCH
APPLICATIONS
Rr*0
*1
M’eiv
*nO
cpe'Al'ig
my;rucili>-S
Iwlixe
uiino
Ihis
piOOJCI
Obey
/ill
cauilo~a
in
Ihe
cperal
ng
jnslr
jcliora
end
on
(He
oacx
«i
me
unn.
All
oreratirxj
inMiucliona
ihoi>4
be
'ollovrwi
Tivs
procuci
jhoukJ
not
Be
osod
near
wots-.
i
o
a
bathtub.
a*“K.
awln»"ing
pool
wCI
»a»«ieiit
clc.
tn«
produel
sfouId
be
ocalcc
a«
ifa«
-ts
poaitondonanoi
Y'leHerc
wit
a
I«a
pops'
verblat
e"
u
shsuld
hot
bo
placed
lid!
doers:
d
■
<•!
CM
p
OCCO
in
*
buil1--n
enolcaurc
thy
w
ll
irnawie
the
lion
c
I
coJro
aii
Thu
proavicl
should
not
Doplsoed
"oaro
5<X.roo
o'
hoats_ch
i!
a
slGvt.
heeler
adelor
O*
erolher
he*
c<03u<ir*>
anc*Hei
6.
Conneci
on*
lo
t
power
sup
o'v
>»
ihe
ivaemarxerso
ache
unit
adlacent
lo
me
power
supply
com
9.
hevei
b'esloll
the
giajnbpincr
1
:ne
power
supply
com
c
o<
•nixe
information
0
n
grounding
wrhe
lot
out
'ree
OCOEBI
9noc»
Ha/am
and
Grounding
<0.
Power
uopi/
cr»r»
jhouw
always
Da
nar«*o
<ere4uity
Navai
.at
or
cuace
eauipmeni
an
power
».ppiy
coros
Period
Oily
Chet*
come
lorcmor&gneorilro:;
aspacully
m
CRO
plug
ano
•"«
point
were
me
CO'C
P*in
|i>0
unit
ii
The
avwer
supply
com
shoud
oeunpiupgMi
whehinoLnuu
to
oe
unused
KM
long
oerae*
or
iiin
'
2.
Metal
pvtru
c.in
be
cieanod
«.iin
a
Damp
tao
tte
vinyl
cCNflnng
used
cm
some
u«Ht
tar.eec
loaned
wilh
a
damp
rag.
or
an
airtmo*’>a
Oaten
no-ecOolo
c'aanor
if
nereatery
•
i
Care
<t»>ou
a
1*1
MXPII
Htnai
ooiecli
do
noi
la
II
arid
I
CUIUS
are
rm
snniod
rmihe
unit
through
the
rantiaion
nclee
or
a-y
eiTer
oc<*i»igt
a
'me
unit
sitoixd
no
checked
by
a
cm
iraeacd
tervtrc
tec
tin.can
il
A
t
r>a
power
supply
oord
or
plug
has
Boon
damaged
3
Anylh
ng
has
Wien
Or
Boon
apillod
<-to
Ihe
unit
C
Tnr
unit
does
-ot
opsrale
correclty.
0
The
unii
hes
Been
dropped
or
ihe
enewsure
Cdmoged.
IS
~h#
jso'
shov'd
not
»iie«*pi
io
eerv.ee
this
equipment
aii
serycewor*
s~ouldbedoneby
aquoliliea
corvice
lech
_
<c
an
SUMMARY
OF
FUNCTIONS
7
in
1
main
OUI.
'
pr?
rncnilnr
l>ul.
I
poll
oTECIS
GUI
3-0anc
EO
cocn
chanrol.
main
noaophoro.
monitor
heacphcnc.
roverb
2
palchaDlo
F-cond
graphc
equalno's.
100A’
par
channel
alc’co
po*mr
omp
wAh
DDT*
INPUTS.
EACH
OF
7
CHANNELS:
1
low
2
solaoccd
mic.
1
high
2
uhfcalanceo
lino,
srd
l
mgh
2
un.’wldnoer)
rrlum
me
INPUTS.
MASTER:
1
i
ntiBlarceP
auxiliary
lor
main
moritpr
&
e'lects:
I
unoalanced
high
7.
rllrdn
return.
I
high
2
unbalanced
line
lor
eicn
graphic
ary)
each
power
amp
OUTPUTS.
EACH
OF
7
CHANNELS:
i
low
Z
unbalanced
send
i
nn
OUTPUTS.
MASTER:
t
low
7
unbalanced
line
each
lor
rrair
monitor,
sum.
mam
i
moniicu
m
«
eflecls
ihigh
level’,
ellecls
<low
level),
mam
grapRin
S
rvamtor
graphic
•
mono
headDhono
line
each
lex
mam
&.
monnor;
'overs
IpoKuatCh
OUTPUTS.
POWER
AMP
Two
para
«i
each
channm
a
ohm
minimum
parallel
load
MIXER
SECTION:
CHANNEL
MICROPHONE
INPUTS:
Mir.
Impede
nor
..w
Z
iSGOohmsi
baancod
Nominal
input
Level
-28d5M.
30
mV
RMS
Minimum
input
Level
-aftdBM.
A
mV
RMS
Maiimuin
Inpui
Level
-4
IBM
0.5V
RMS
CHANNEL
LINE
(HIGH
Z
MIC)
INPUTS
I
ihe
Impedance
H
gh
2
(?20K
ol.iv
imbalanced
Nominal
input
Level
-i4ilBV
?00
mV
RMS
Minimum
input
Lever
-32<18V
75
mV
RMS
Maximum
Input
Lovol
-lOdBV
3V
RMS
CHANNEL
RETURNS
&
AUXILIARY
INPUTS:
lire
Impedance
Medium
Z
|22<
ohm?]
unbalanced
Nominal
input
Level;
0
d8v.
'V
RMS
MAIN
GRAPHIC
&
MONITOR
GRAPHIC
INPUTS
Lire
Impedance
High
2
{22
OK
sa-mi:
unbalanced
Ncminol
Input
Level:
0
dDV.
IV
RMS
EFFECTS
RETURN
INPUT:
Lire
Impedance
High
2
;220K
ohm
si
untmiancod
Nominal
Input
lcvc
:
0
dBV
IV
RMS
Minimum
inp.il
Level:
-‘4
dBV
C
2V
RMS
Maximum
Inpui
level
-E
dBV.
2V
RMS
MAIN.
MONITOR.
CHANNEL
SEND.
MAIN
GRAPHIC,
MONITOR
GRAPHIC
A
EFFECTS
<HIOH
LEVEL)
UNBALANCED
OUTPUTS:
_oao
impedarce
eoo
orims
or
greaier
Nominal
Output
OdBV.
IV
RMS
Maomui
Output
•
13
cBV
8V
RMS
m:p
5CK
onms
load
Uaximui
Output
-14
C0M.
*V
RMS
inlfl
CDD
0Hm3
oad
EFFECTS
(LOW
LEVEL)
UNBALANCED
OUTPUT
Load
impedance
'OK
ohms
O’
croaior
Nominal
Output
-12dBV
0.25V
RMS
Uaorrui
Output
-6
dBV
?V
RMS
HEADPHONES:
(Mono
output
lor
mein
and
momlorl
Load
Impedance
4
ohms
lo
50
ohms
Uaxtinuir
Output
Power
100
mW
THE
FOLLOWING
SPECS
ARE
MEASURED
WITH
A
NOMINAL
INPUT
GAIN
SETTING
OF
-II
dd
ALL
CHANNELS;
ALL
MASTERS
SET
@
12
CO
AIL
EO
SET
FLAT:
LOW
Z
INPUTS
TERMINATED
(O
SOD
OHMS:
HIGH
Z
INPUTS
AMO
All
OUTPUTS
TERMINATED
@
47K
OHMS
FREQUENCY
RFSPONSE:
(Any
in/oui
eomb
nalion
with
IV
RMS
outpull
•0,
2
dB.
30
H2
to
20
KHr
PREAMP
HUM
a
NOISE:
(All
channels
on)
-82
dSV
High
2
lino
npule
80
d8V
Low
2
mx;
inputs
OVERALL
DISTORTION
(Any
in'cut
combination,
20
He
-
20
KHi
@
IV
RMS)
Lms
ihan
0
1%
T
HD
ivpcahy
Odow
,K<5»
POuali/ation:
(Each
chonnel)
-
’
>
dB
(«•
60
H:
i
8
KM?.
Shelvinc
•
'5
dB
(£
500
Ur
Pcah/NotCh
EQUALIZATION:
IGrpphlc.i
-
-5
dB
$
■
>
’CO
Hr.
?Mh/.
5C0
Hr
1
KHr
?
KHr
5
K"/
A
'0
KHi.
Rcok/NotCh.
Axerngc
O’
o«
1
5
MAXIMUM
AVAILABLE
GAIN
-
’4
r5B
Masiei
control
♦
32
r*l
Channel
control
High
Z
•
16
dB
Balanced
input
amp
*62
dB
Tolal
LEO
READOUT
RANGE:
•21
lo
*6
dBV
main
&
monitor
POWER
AMP
SECTION’
(240SC
Module
with
DOT*
Comprctiion)
FREQUENCY
RESPONSE:
•0
CB.
20
H?
to
30
KHr
(<i>
1
W
mlo
4
ohms
RATED
POWER
S
LOAO:
lODlW
per
cnannel
mlo
4
ohms
POWER
@
CLIPPING
(-%THD
1
Kh/.
120
VAC
linO|
Typical
sireie
rhannei
75V7
RMS
mto
8
ornns
126W
RMS
mlo
4
ohma
2
ohms
nol
rccommondco
TOTAL
HARMONIC
DISTORTION:
loaaihanG’^.
100
rV/b
100W
RMS.
20
H?
to
20
K
Hr
4
ohms
Typically
below
05tb
INTERMODULATION
DISTORTION
Less
lhan
0,1%.
ICC’
mW
to
ICC'*/
RMS.
60
-lr
fi
5
KHr
4
ohms
Typically
below
OWO
DDT-
DYNAMIC
RANGE:
Groalor
than
26
CB
DDT-
MAXIMUM
THD
II
KHa)
be
ow
0.5*6
THD
lor
SdB
overload
Bo
ow
•%
THD
lor
20
dB
overload
HUM
&
NOISE:
90
dB
below
1C0W.
20
H?
2C
KH?
SLEW
RATE-
Greater
than
15
V^uScc
DAMPING
FACTOR
Oreaier
wan
10
D
<v»
i
kh?.
4
onma
INPUT
SENSITIVITY:
IV
RMS
lor
ittAV
nio
4
onms
INPUT
IMPEDANCE:
22K
ohms
overiaad
protecied
POWER
REQUIREMENTS.
(Domeslic)
BMW
12CVAC
50-60
II?
Due
io
our
etlorts
lor
consiant
improvemeoi.
tea
lures
and
specilications
are
sunject
io
change
witooul
notice.
PEAVEY
ELECTRONICS
CORP.
711
A
Street/Meridian,
MS
39301
Telephone;
(601)
483-5365
/
Telex;
504115
•
198d
Printed
in
U.S
A
«80361035
5/84
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