Peavey Versarray 212 User manual

1


90 Hz to 20 kHz (±3 dB, with
processing)


85 Hz (with processing)

Low frequency section:
1,000 watts continuous
2,000 watts program
4,000 watts peak
Mid frequency section:
200 watts continuous
400 watts program
800 watts peak
High frequency section:
200 watts continuous
400 watts program
800 watts peak


Low frequency section (Both 12”
woofers in parallel):
99 dB SPL (2.00 V input)
Mid frequency section:
101 dB SPL (2.83 V input)
High frequency section:
102 dB SPL (2.83 V input)


Low frequency section:
129 dB SPL continuous
135 dB SPL peak
Mid frequency section:
124 dB SPL continuous
130 dB SPL peak
High frequency section:
125 dB SPL continuous
131 dB SPL peak
*Note: This spec is for one module at 1
meter, a line array of 8 units has much
higher output at distance due to line source
effect where SPL falls of at 3 dB per distance
doubling rather than 6 dB. All peak levels
confirmed by measurement.


70° horizontal by 15° vertical
(One module only; straight line array
of more than 1 module narrows
vertical dispersion accordingly)


500 Hz to 1.6 kHz:
Horizontal 158° +/- 55°
Vertical 90° +/- 45°
1.6kHz to 5 kHz:
Horizontal 84° +/- 15°
Vertical 30° +/- 10°
5 kHz to 16 kHz:
Horizontal 55° +/- 20°
Vertical 10° +/- 4°


47.6, +92/-36


16.8 dB, +4.6 dB/-6.3 dB

Low frequency section:
2 x 12" woofer, 1212-4 Neo Black
Widow® 4” Dual VC Woofer in a
sealed box
Mid frequency section:
10 x 2.5" in Neo Midranges,
arranged in two banks of 5 each
High frequency section:
4 x 4.75" in Planar Dynamic
Ribbon Tweeter line sources on a
manifold-loaded waveguide

Low frequency section: 94 Hz
Midrange section: 220 Hz

1 watt power
2nd Harmonic:
200 Hz 0.32%
1 kHz 0.47%
4 kHz 048%
3rd Harmonic:
200 Hz < 0.10%
1 kHz 0.19%
4 kHz 0.18%
10 watt power
2nd Harmonic:
200 Hz 1.38%
1 kHz 1.52%
4 kHz 0.72%
3rd Harmonic:
200 Hz < 0.10%
1 kHz 0.32%
4 kHz 0.16%
*Note: Distortion levels may be measurement
setup limited in some instances


(Applies to VSX and Digitool settings provided by
Peavey)
Sub - Low frequency:
120 Hz at 24 dB/octave
Low frequency - Mid frequency:
440 Hz at 24 dB/octave
Mid frequency - High frequency:
2.51 kHz at 24 dB/octave


Sub - Low frequency:
125 Hz at 24 dB/octave LR
Low frequency - Mid frequency:
440 Hz at 24 dB/octave LR
Mid frequency - High frequency:
2.6 kHz at 24 dB/octave

Low frequency: -0.33 milliseconds
Mid frequency: -0.25 milliseconds
SPECIFICATIONS Versarray212

2

Low frequency (each):
Nominal: 8.0 Ω
Minimum: 6.5 Ω
Mid frequency (each):
Nominal: 6.0 Ω
Minimum: 4.8 Ω
High frequency (each):
Nominal: 8.0 Ω
Minimum: 6.2 Ω

2 x Neutrik® Speakon® 8-pin jacks in
parallel; 4 x Neutrik Speakon 4-pin
jacks, one set in parallel for the
lows (each woofer independently
accessible), and one set in parallel
for the midrange and highs

18, mm 13-ply Baltic Birch plywood
finished in black or white painted
finish with perforated steel
grille finished in black or white
powder-coat paint.

Custom array brackets and hardware
and a custom array angle adjustment
system are included with each
module. Twelve heavy-duty 3/8”
quick release pins are included.
Array fly bar and pull-back bar
available separately.

Front:
14.06” x 43.13” x 11.75”
357 mm x 1096 mm x 298 mm
Rear:
12.62” x 42.00” x 11.75”
321 mm x 1067 mm x 298 mm
Width with quick-release pins inserted
on both ends: 44.56” (1132 mm)

97 lbs. (44.1 kg)
(includes two of the rigging coupling
brackets, one on each side, and 12
locking push pins)


Versarray™ 118 Sub: single 18” Lo Max®
woofer, ground-based subwoofer
Versarray™ 218 Sub: double 18” Lo
Max® woofer, ground-based subwoofer
Versarray 218F Sub: double 18” Lo Max
woofer, flying subwoofer

Peavey Versarray 212 Array fly bar
(Peavey part number 00586480,
weight 85 lbs.)
Versarray 212 Pull-back bar (Peavey
part number 00587320)
A two-foot speaker cable, with 16-
gauge 4-conductor wires with 4-pin
to 4-pin Neutrik Speakon connectors
(Peavey part number 00585240, two
required to jumper to next cabinet)
A two-foot speaker cable, with 14-
gauge 8-conductor wires with 8-pin
to 8-pin Neutrik Speakon connectors
(Peavey part number 00569460, one
required to jumper to next cabinet)

• Three-way, tri-amp ribbon line
source array SR system
• Dual 12” Neo Black Widow® 4”
Dual VC Woofers
• 2000 watts program, 4000 watts
peak power handling for the lows
• Ten Peavey exclusive 2.5” Neo
Midranges in a compound line
array source
• Four Peavey exclusive planar
ribbon tweeters on a manifold line
source loaded into a wave guide
• 400 watts program power handling
for the midrange and highs
• 70 H by 15 V pattern (one per cabinet)
• MF/HF Waveguide Diffraction
Control System built into the grille
• Easy aiming angle adjustment
rigging system
• Angles adjustable in 1˚ increments
from 0 to 5 degrees, per cabinet,
10˚ maximum total angle between
adjacent cabinets
• Vertical adjustment bracket set
included with cabinet
• Sound Guard™ midrange and
tweeter protection
• Inputs are two Neutrik Speakon
8-pin jacks in parallel; and four
Neutrik Speakon 4-pin jacks, one
set in parallel for the lows, and one
set in parallel for the midrange and
highs
• 18 mm, 13-ply Baltic birch enclosure

The Versarray 212 Ribbon Tweeter
Line Source Array module consists of
dual 12” Neo Black Widow woofers
combined with a neodymium-based,
Peavey-exclusive midrange line
array and planar ribbon tweeter line
source in a cabinet with a highly
flexible rigging system. Designed to
provide modular coverage of medium
to large venues and intended for
use with the companion Versarray
Sub models, the Versarray 212
offers extreme versatility and high
performance.
The three-way system consists of the
following driver components: two
12” Black Widow Neo series woofers
with neodymium magnet structure.
The woofers are capable of over
500W of continuous power handling
(AES Std 2-1984) each.
The midrange is handled by ten
2.5” Neo magnet midrange drivers,
providing a total of 200W of
continuous power handling, at a high
sensitivity of 101 dB.
The high frequencies are handled by
four Peavey-exclusive planar ribbon
tweeters utilizing a neodymium
magnet system, firing into a manifold
and creating a line source mounted
to a low distortion waveguide.
Capable of 200W continuous power
handling, the tweeter line source
array provides a crystal-clear high
end.
Tri-amp input connection to the
system is made via two 8-pin Neutrik
Speakon jacks which are paralleled,
or by utilizing four Neutrik Speakon
4-pin jacks, one set in parallel for
the lows and one set in parallel
for the midrange and high. Each
12” Neo woofer is independently
wired, providing flexibility in how
a line array is wired for amplifier
use. Peavey’s proprietary protection
circuitry, Sound Guard, provides long
and medium term driver overload
protection for both the midrange
array and the line source tweeter
manifold without impairing musical
transients or dynamics.
The adjustable rigging system
provides for a classic straight line
array configuration, or a number of
different angling options, providing
SPECIFICATIONS Versarray212

3
easy aiming of the system. Angles between the array modules
is adjustable from 0˚ (straight), to 10˚ in 1˚ increments. Total
maximum angle between two cabinets is 10˚.
Quick release pins are supplied with the rigging hardware
to couple the Versarray 212 modules together and set the
angles between them for quick and easy field adjustments or
re-configurations of a line array.
The flexibility of the Versarray system allows the use of
anywhere from 4 to 8 or more Versarray 212 modules in
conjunction with anything from one Versarray 118 Sub to as
many Versarray 218 Subs as you can fully power.

This measurement is useful in determining how accurately
a given unit reproduces an input signal. The frequency
response of the Versarray 212 is measured at a distance
of 1-meter using a 1 watt (into the nominal impedance)
swept-sine input signal. As shown in figure 1, the selected
drivers in the Versarray 212 combine to give a smooth
frequency response from 90 Hz to 20 kHz (±3 dB, with
processing).

Beamwidth is derived from the -6 dB points from the polar
plots (see figure 3) which are measured in a whole space
anechoic environment. Q and Directivity Index are plotted for
the on-axis measurement position. These are specifications
that provide a reference to the coverage characteristics of the
unit. These parameters provide insight for proper placement
and installation in the chosen environment. The blending of
the components of the Versarray 212 and the Peavey VSX™ 26
and Peavey Digitool™ MX speaker processor and crossover
with the Versarray 212 presets, exhibits a beamwidth
and directivity (figure 3 & 4) suitable for line array sound
reinforcement applications.

There are many different approaches to power handling
ratings. Peavey rates this loudspeaker system’s power
handling using a full-range form of the AES Standard 2-1984.
Using audio band 20 Hz to 20 kHz pink noise with peaks of
four times the RMS level, and then running the signal through
either the Peavey VSX 26 or Peavey Digitool MX speaker
processor and crossover with the Versarray 212 presets, this
strenuous test signal assures the user that every portion of
this system can withstand today’s high technology music.
This rating is contingent upon having a minimum of 3 dB of
amplifier headroom available.

Second and third harmonic distortions vs. frequency are
plotted in figures 5 & 6 for two power levels. Those levels
are 1 watt of input power and 10 watts of input power, to
the woofers, at 200 Hz. Distortion is read from the graph as
the difference between the fundamental signal (frequency
response) and the desired harmonic. As an example, a
distortion curve that is down 40 dB from the fundamental is
equivalent to 1% distortion.

 Before attempting to suspend this speaker, consult
a certified structural engineer. Speaker can fall from improper
suspension, resulting in serious injury and property damage.
Other enclosures may be suspended below one Versarray
212, when flown using the Peavey Versarray 212 Array Fly
Bar, Peavey part number 00586480. However, the combined
weight of all enclosures and all cables, clamps and other
hardware must not exceed 2,400 pounds. The Versarray 212
weighs 97 pounds, which includes the weight of two coupling
brackets and all the associated Quick Release Positive Lock
Pins. Maximum array angle 45˚. Use only the correct mating
hardware. All associated rigging is the responsibility of
others.

The loudspeaker system shall have an operating bandwidth
of 90 Hz to 20 kHz when using the recommended digital
signal processing settings. The nominal output level shall
be 99/100/102 dB when measured at a distance of one
meter with an input of one watt (woofers/mids/tweeters).
The nominal impedance shall be 4/6/8 ohms. The maximum
continuous power handling shall be 1,000/200/200 watts,
maximum program power of 2,000/400/400 watts and a
peak power input of at least 4,000/800/800 watts, with a
minimum amplifier headroom of 3 dB. The two woofers shall
be a Peavey Black Widow® Neo series woofer, 12” nominal
diameter, with a 4” voice coil, the ten midrange drivers shall
be 2.5” nominal diameter Neo magnet speakers with a 1”
voice coil, and the four tweeters shall be 4.75” nominal
length planar ribbon Neo magnet drivers on a manifold line
source loaded into a waveguide.
The midrange and tweeter sections shall be provided with
a self-resetting protection circuit internal to the cabinet to
help prevent damage to the drivers during a power overload
condition. Input shall be via either 2x Neutrik® Speakon® 8
pin jacks in parallel; or via 4x Neutrik Speakon 4 pin jacks,
one set in parallel for the lows (each woofer independently
accessible), and one set in parallel for the midrange and
tweeter connections. The nominal radiation geometry shall
be 70 degrees in the horizontal plane and 15 degrees in the
vertical plane, for a single Versarray 212 cabinet. The outside
dimensions shall be 14.06 inches high by 43.13 inches wide
by 11.75 inches deep. The cabinet shall be constructed of 18
mm 13 ply birch plywood. The weight shall be 97 pounds. The
loudspeaker system shall be a Peavey model Versarray 212.


Before attempting to suspend these speakers,
consult a certified structural engineer. The speaker can fall
from improper suspension, resulting in serious injury and
property damage. Other enclosures may be suspended below
one Versarray 212 cabinet. However, the combined weight
of additional enclosures and all cables, clamps, and other
hardware must not exceed 2,300 pounds. The Versarray
212 weighs 97 pounds and the maximum combined weight
suspended from the uppermost mounting bracket assemblies
must not exceed 2,400 pounds.
SPECIFICATIONS Versarray212

4


The Versarray 212 line array loudspeaker system modules are
to be suspended below or stacked on top of the Versarray 212
Fly-Bar in accordance with the Versarray 212 Fly-Bar Owner’s
Manual.
The Working Load Limit (WLL) and Design Factor of the Versarray
212 Fly-Bar and the Versarray 212 loudspeaker system module
rigging are:
Nominal Weight of Versarray 212: 44.1 kg / 97 lbs.
WLL (Working Load Limit): 1090.1 kg / 2,400 lbs.
Ultimate Strength Design Factor: > 6:1
Up to twenty-four (24) Versarray 212 loudspeaker system modules
can be vertically suspended in a column below the Versarray
212 Fly-Bar. The maximum recommended quantity of stacked
Versarray 212 loudspeaker system modules over the Versarray 212
Fly-Bar is four (4).
Combinations of Versarray 212 loudspeaker system modules and
the Versarray 218F flying subwoofer may be flown in the same
array. See the Versarray 212 Fly-Bar Owner’s Manual and the
Versarray 218F Owner’s Manual for details on how many of each
can be flown.
The ultimate strength for the Versarray 212 loudspeaker system
module rigging points was determined utilizing calibrated and
certified destructive pull tests.







Use only the correct mating hardware. All associated rigging is
the responsibility of others.
 Do not feed a full-range signal to the tweeters in the
Versarray 212! This could damage the tweeters!
It is recommended that for set-up or testing purposes, a high
frequency sweep starting or ending no lower than 500 Hz be
used to verify that the tweeters are connected to the high
frequency output of the crossover/processor. If the wiring has
been swapped, and the signal is mistakenly fed to the woofers
or midranges, output will fall off significantly above 5 kHz or 10
kHz. Always double-check and test your wiring before applying
any music signals to the system! The ribbon tweeters are
connected to the Neutrik® 4-pin Speakon® connector pins +2
and -2, and to pins +4 and –4 for the 8-pin Speakon connector,
as per industry standards.
If there is any chance that trained personnel are not going
to be connecting and operating the system, then it would be
advisable to place a high quality 20 uF polypropylene film cap
in series with the tweeters.
 Ribbon Tweeters do not exhibit audible signs of
distress when overloaded! 








SPECIFICATIONS Versarray212

5
SPECIFICATIONS Versarray212
20 50 100 200 500 1k 2k 5k 10k 20k
Frequency (Hz)
60
70
80
90
100
110
dB SPL (re 20 Pa)
Amplitude Response (1m Equivalent On-Axis)
No LF Crossover
With Crossover
One VR212 Only
Figure 1
20 50 100 200 500 1k 2k 5k 10k 20k
Frequency (Hz)
1
2
3
5
10
20
30
50
100
Impedance
Tweeters
Midranges
Wo ofers
Z
()
Figure 2
20 50 100 200 500 1k 2k 5k 10k 20k
Frequency (Hz)
5
10
20
30
40
60
80
100
140
180
300
360
Beamwidth (Degrees)
Beamwidth
Vertical
Horizontal
Figure 3
20 50 100 200 500 1k 2k 5k 10k 20k
Frequency (Hz)
1
10
100
Q&Directivity Index
Q
Figure 4
20
10
Di
0
20 50 100 200 500 1k 2k 5k 10k 20k
Frequency (Hz)
40
50
60
70
80
90
100
110
dB SPL (re 20 Pa)
Harmonic Distortion :1Watt
Figure 5 3rd Harmonic
2nd Harmonic
20 50 100 200 500 1k 2k 5k 10k 20k
Frequency (Hz)
50
60
70
80
90
100
110
120
dB SPL (re 20 Pa)
Harmonic Distortion :10Watts
Figure 6 3rd Harmonic
2nd Harmonic

6
SPECIFICATIONS Versarray212
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o









-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
  
-90o
-60o
-30o
0o
30o
60o
90o


7
SPECIFICATIONS Versarray212
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o
-90o
-60o
-30o
0o
30o
60o
90o









8
SPECIFICATIONS Versarray212
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o














9
SPECIFICATIONS Versarray212
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o
0o
30o
60o
90o
-30o
-60o
-90o










10
SPECIFICATIONS Versarray212
Versarray 212 Input Plate

11


Please contact Peavey Electronics for the latest information.

(For reference purposes only, you should use more than
one Versarray 212 cabinet so as to create a line array. We
recommend a minimum of four Versarray 212 cabinets.)

None

X-Over High Pass: 24 dB/Octave Linkwitz/Riley (L/R) @ 34 Hz
Level: -0.5 dB
Polarity: Normal
Low Pass: 24 dB L/R @ 125 Hz
Delay: 0 microseconds
PEQ Freq = 50 Hz BW = 0.577 Level = +1.5 dB
PEQ Freq = 100 Hz BW = 0.5 Level = -1.0 dB

12” woofer:
X-Over High Pass: 24 dB/Oct L/R @ 100 Hz
Level: -2.5 dB
Polarity: Normal
Low Pass: 24 dB/Oct L/R @ 400 Hz
Delay: 0 microseconds
PEQ Freq = 115 Hz BW = 2.0 Level = +2.5 dB
PEQ Freq = 310 Hz BW = 0.5 Level = +2.0 dB
PEQ Freq = 610 Hz BW = 0.5 Level = +2.5 dB
PEQ Freq = 655 Hz BW = 1.0 Level = - 5.0 dB
PEQ Freq = 250 Hz BW = 1.0 Level = - 2.5 dB
2.5” Midranges::
X-Over High Pass: 24 dB/Oct Bessel @ 725 Hz
(Bessel Frequency Normalized to the – 3 dB point)
Polarity: Normal
Level: 0 dB
Low Pass: 24 dB/Oct L/R @ 2000 Hz
Delay: 385 microseconds (0.38 milliseconds)
PEQ Freq = 475 Hz BW = 0.71 Level = - 3.0 dB
PEQ Freq = 880 Hz BW = 0.5 Level = +3.5 dB
PEQ Freq = 1180 Hz BW = 0.5 Level = - 4.0 dB
PEQ Freq = 1750 Hz BW = 0.5 Level = +2.0 dB
PEQ Freq = 2210 Hz BW = 0.58 Level = - 4.0 dB
Planar Ribbons:
X-Over High Pass : 24 dB/Oct Bessel @ 4.02 kHz
Level: - 1.0 dB
Polarity: Normal
Low Pass: Bessel 12 @ 19.5 kHz
Delay: 249 microseconds (0.25 milliseconds)
PEQ Freq = 4.48 kHz BW = 0.5 Level = +1.5 dB
PEQ Freq = 6.08 kHz BW = 1.0 Level = - 7.5 dB
PEQ Freq = 8.64 kHz BW = 0.58 Level = +3.0 dB
PEQ Freq = 18.15 kHz BW = 0.71 Level = +3.5 dB
PEQ Freq = 3.40 kHz BW = 1.0 Level = -2.0 dB
 These settings have been carefully selected to
provide the best performance the Versarray 212 system is capable
of, and provide maximum sound quality with high reliability.
Bessel filters have a non-intuitive frequency setting compared to
Linkwitz-Riley or Butterworth filters, and may give the impression
that there is a severe under-lap at the crossover frequency. This
is not the case, and all factors have been taken into account,
including the acoustic behavior of the drivers into the waveguide
load. If you have ANY concerns or questions about crossover and
EQ settings, please contact Peavey Transducer Engineering.

 
      

      

      

      

      
* For just ONE Versarray 218 sub; for setting levels on more than
one sub, see Subwoofer notes below.
 Versarray 212 cabinets are strongly recommended
to be used in multiples of four or more to create a proper line
array. Ideally, they will be used in line arrays of six or more per
location.
  
Note: The VSX 26 has a front end Global EQ section, consisting
of 27 bands of 1/3 octave EQ, which function just like a classic
analog 1/3 oct. band EQ. The Digitool has 5 bands of PEQ (as well
as the other filter/EQ type functions) at the front end.
Rather than change the main crossover and EQ settings, we make
the adjustments for differing numbers of cabinets primarily via
this frontend or global EQ.

Six Versarray 212 cabinets @ 2 degrees angle between them
PEQ Freq = 325 Hz BW = 0.71 Level = - 3.5 dB
PEQ Freq = 2.5 kHz BW = 1.0 Level = - 5.0 dB
Also, reduce the PEQ on the 2.5” Midranges at 845 Hz from +4.5 dB
down to +2.5 dB.


1/3 octave band 250 Hz set to – 0.5 dB; 1/3 octave band 315 Hz
set to – 2.5 dB; 1/3 octave band 400 Hz set to – 1.0 dB; 1/3 octave
band 1.6 kHz set to – 1.0 dB; 1/3 octave band 2.0 kHz set to – 1.5
dB; 1/3 octave band 2.5 kHz set to – 3.0 dB; 1/3 octave band 3.15
kHz set to – 1.5 dB; 1/3 octave band 4.0 kHz set to –1.0 dB
SPECIFICATIONS Versarray212

12

Four Versarray 212 cabinets @ 2 degrees angle between them
PEQ Freq = 325 Hz BW = 0.71 Level = - 2.5 dB
PEQ Freq = 2.5 kHz BW = 1.0 Level = - 3.5 dB
Also, reduce the PEQ on the 2.5” Midranges at 845 Hz from +4.5 dB
down to +3.5 dB.


1/3 octave band 315 Hz set to – 2.0 dB; 1/3 octave band 400 Hz
set to – 0.5 dB; 1/3 octave band 1.6 kHz set to – 0.5 dB; 1/3 octave
band 2.0 kHz set to – 1.0 dB; 1/3 octave band 2.5 kHz set to – 2.5
dB; 1/3 octave band 3.15 kHz set to – 1.0 dB; 1/3 octave band 4.0
kHz set to –0.5 dB

Filter/Gate = High Pass 12 dB per Octave at 34 Hz, Q = 0.71
EQ Section = High Pass 12 dB per Octave at 34 Hz Q = 0.71


( The use of the front end filters on the Digitool will
provide infrasonic filtering for ALL of the drivers in the system,
while the use of the crossover function filter will only provide
that roll-off for the subwoofer)



Power Amp Gain set to 40X (32 dB)

Threshold: +7.0 dB
Ratio: 20:1
Attack: 100 ms
Release: 1000 ms

Threshold: +4.0 dB
Ratio: 20:1
Attack: 60 ms
Release: 600 ms

Threshold: -1.0 dB
Ratio: 20:1
Attack: 25 ms
Release: 250 ms

Threshold: 0.0 dB
Ratio: 20:1
Attack: 10 ms
Release: 100 ms

Threshold: +22 dB
Ratio: 20:1
Attack: 50 ms
Release: 500 ms

For a more gradual soft limiting on the front end:

Threshold: +10.0 dB
Ratio: 4:1
Attack: 25 mS
Release: 250 mS
 The VSX26 references the limiter settings to 0 dBu, which
is at –24 dBFS.


Input Gain Block= 18 dB
Output Gain Block= 24 dB
Power Amp Gain set to 40X (32 dB)

Threshold: -17.0 dB
Ratio: 20:1
Attack: 100 mS
Release: 1000 mS

Threshold: -19.0 dB
Ratio: 20:1
Attack: 60 mS
Release: 600 mS

Threshold: -25.0 dB
Ratio: 20:1
Attack: 25 mS
Release: 250 ms

Threshold: -24.0 dB
Ratio: 20:1
Attack: 10 ms
Release: 100 ms

Threshold: -2 dB
Ratio: 20:1
Attack: 50 ms
Release: 500 ms

For a more gradual soft limiting on the front end:

Threshold: -12.0 dB
Ratio: 4:1
Attack: 40 ms
Release: 500 ms
 The Digitool references the limiter settings to 0 dBFS, or
the maximum digital output levels of the system.

Versarray 218 Subs are shipped in 4-ohm mode (woofers
paralleled). There is an internal jumper change to allow
SPECIFICATIONS Versarray212

13
SPECIFICATIONS Versarray212
individual access via a 4-pin Neutrik® Speakon® and 4-conductor
cable, or an 8-pin Neutrik Speakon and 8-conductor cable.
If the Versarray 218 Subs woofers are desired to be driven
separately, using an amplifier with the same gain as the other
amps, the drive level to the separated woofers is the same.
When doubling the number of Subs, subtract –6 dB from the
level chart numbers for each doubling of Subs.
Use of a bridged amp for the Versarray 218 sub/s essentially
results in an increase in gain of 6 dB, and this needs to be
taken into account when setting levels.
We recommend using a minimum of one Versarray 218 sub per
every two Versarray 212 cabinets.
As an example of translating the level setting chart information
into reality, lets look at a six hang Versarray 212 system. We
recommend using one sub for every two Versarray 212 cabinets,
so we look at three subs with the six Versarray 212 cabinets.
Three subwoofers will sum completely in their operating band,
so the increase in acoustic gain when each is driven with the
same level over a single cabinet is 9.5 dB. Using an amp in
bridge mode adds an effective gain of 6 dB, so total acoustic
gain over a single sub on a single unbridged channel is +15.5
dB. The level chart recommends +9.5 dB for a single Versarray
218 compared to the level for the 12” woofers in the Versarray
212 system. Thus, we need to set the gain at the processor for
the sub channel to – 3.5 dB lower than the nominal setting of
–2.5 dB for the 12” woofers, for an absolute level setting of –6.0
dB (assuming you are using the recommended levels for all of
the various bands as called out in the chart).
Another example, this time of a four hang Versarray 212
system. We recommend using one sub for every two Versarray
212 cabinets, so we look at two subs with the four Versarray
212 cabinets. Two subwoofers will sum completely in their
operating band, so the increase in acoustic gain when each is
driven with the same level over a single cabinet is 6 dB. Using
an amp in normal two channel mode adds no effective gain, so
total electrical and acoustic gain over a single sub on a single
channel is +6 dB. The level chart recommends +7.5 dB for a
single Versarray 218 compared to the level for the 12” woofers
in the Versarray 212 system. Thus, we need to set the gain at
the processor for the sub channel to +1.5 dB relative to the –
2.5 dB nominal setting of the 12” woofers, or an absolute level
setting of –1.0 dB.

When using AUX fed subs, or boosting the level of the normally
crossed over subs more than 3-4 dB above a truly flat frequency
response, the subs high pass crossover point needs to be
adjusted down. This would mean crossing the subs over at 110
Hz instead of 125 Hz, for a sub level that is 6 dB higher than
flat.
For subwoofer levels a full 10 dB hotter than nominally flat,
change the subwoofer crossover frequency down to 100 Hz.
When running the subwoofer levels hotter than nominally flat,
some global front end EQ around 200-250 Hz may be needed to
minimize chestiness or booming in vocals. Try pulling down 200
Hz by several dB, using a bandwidth (bw) of 1.

Splaying the line more than 1 or 2 degrees between cabinets will
tend to require level changes for the Midranges and the Planar
Ribbons, generally some boost, and possibly some additional EQ.
In addition, splaying cabinets in the line more than 4 or 5 degrees
total angle between cabinets will result in an uneven vertical
coverage level, with drops in amplitude between the cabinets.

The 2.5” midranges are a 6-ohm nominal load, and we do not
recommend paralleling them on a single amp channel unless
the amp is rated for 2-ohm operation.
In general, avoid loading a 2-ohm rated amp all the way down
to 2-ohms, the Versarray 212 system is revealing enough to
highlight any roughness or harshness when the amp is on the
edge of it’s capabilities. We recommend keeping the amp load
above 2.6 ohms when the amp is rated for 2-ohm operation.


89 VRMS continuous, 178 VRMS peak or momentary
(with proper infrasonic and low pass filters engaged)

57 VRMS continuous, 114 VRMS peak or momentary
(with proper band pass crossover filters used)

31 VRMS continuous, 62 VRMS peak or momentary
(with proper band pass crossover filter/s used)

35 VRMS continuous, 70 VRMS peak or momentary
(with proper high pass crossover filter/s used)
We strongly recommend that a power amp be used with a peak
voltage rating that is not substantially higher than the peak
voltage rating of the driver it is connected to. There will be no
further significant increase in SPL, and a much higher chance
that an accident or mistake will damage the speaker system.

CS® 4080 Maximum RMS Voltage Output – 115 volts
CS 4000 Maximum RMS Voltage Output – 93 volts
CS 3000 Maximum RMS Voltage Output – 86 volts
CS 2000 Maximum RMS Voltage Output – 72 volts
CS 1400 Maximum RMS Voltage Output – 61 volts

Pro 9200™ Maximum RMS Voltage Output – 113 volts
Pro 8200™ Maximum RMS Voltage Output – 90 volts
Pro 7200™ Maximum RMS Voltage Output – 75 volts
Pro 5200™ Maximum RMS Voltage Output – 52 volts



14
SPECIFICATIONS Versarray212


Note that the Versarray 212 is intended to be used with
a subwoofer, an electronic crossover and four channels
of amplification to provide full-range performance. The
Versarray 212 is not a full-range system by itself, and
after tri-amplification and EQ, only covers the range
from approximately 120 Hz and up. A number of suitable
crossover options are available from Peavey: the Peavey
Digitool® MX, the Peavey VSX™ 26 loudspeaker controller,
and the VSX 46 loudspeaker controller. These have available
pre-configured set-up files that provide an optimized
crossover, and EQ for a flat response and level set as a
starting place for any permanent installation.
The woofers in the Versarray line that are designed to be
used with the Versarray 212 are the Versarray 118 Sub and
the Versarray 218 Sub.

Classic line arrays used a simple straight line geometry, this
provides the classic “laser beam” vertical coverage pattern that
has become associated with line arrays today. However, many
do not realize that the vertical coverage pattern is extremely
tight and limited, typically not extending vertically past the
ends of the array at a distances.
Measurements of the amount of angular coverage are not that
accurate with line arrays, because the effective coverage angle
keeps getting smaller as you get further and further away, until
it may be just a fraction of a degree at some very far distance.
The upshot of this is that unless you truly need the extremely
tight vertical coverage pattern AND can successfully aim the
entire array at the exact spot you wish to cover, a classic
straight line geometry is not going to be the best choice. A
more useful and general-purpose geometry is a gentle and
continuous curve, with the angle between each cabinet a total
of 2 degrees. This would provide approximately 16 degrees of
seamless vertical coverage with a 6 cabinet array, and maintain
a fairly smooth frequency response. This creates a system with
a coverage pattern of approximately 70 degrees horizontal and
16 degrees vertical.
If the venue is smaller or needs a more open vertical pattern
for coverage, then there are several options that can address
this. You can increase the angle between all the cabinets to
5 degrees total, providing a vertical coverage of approx. 30
degrees.
If that is too much vertical coverage, but there are still some
seats up front that need to be covered, then there are two
other recommended geometries to use. One is a dual radius, as
pioneered by Peavey on the Peavey SSE™-LA. The upper three
cabinets would be set to a total angle between cabinets of 2
degrees, while the bottom three would be set to 5 degrees.
This arrangement provides a smooth, seamless vertical
coverage pattern of approx. 22 degrees.
The other geometry is a modification of the classic “J” line,
using a continuously curved array for the top section instead
of a straight line, and then an abruptly curved section for the
bottom few cabinets. This might consist of the top four or five
cabinets angled at 2, 3 or 4 degrees, with the bottom one or
two each angled the maximum amount of 10 degrees total.
Up till now, we have been talking about a relatively smooth
vertical coverage, with no gaps or suck-outs in the vertical
pattern. However, the use of the “J” precludes this due to
the sharper angles between the individual bottom cabinets.
Anything over about 5 degrees total angle between cabinets
will tend to cause a “gap’ or a “hole” in the response at certain
frequencies, and while it is not too bad, the sharper the angle,
the worse it gets.
Why not use a classic “J” line geometry? This combines the narrow
“laser beam” pattern with a “gaps in the coverage” pattern, sort of
the worst of both worlds. This is why we recommend one form or
another of a gentle and continuous curve, to avoid these common
problems, and provide maximum performance.

If a classic straight line array geometry is used, then aiming
becomes critical; the coverage pattern at high frequencies is
only going to be about 10 feet tall for a set of eight Versarray
212 cabinets. You will have to pick the 10 feet of vertical space
you want covered very carefully, and aim the array precisely.
Here, use of an inexpensive laser pointer temporarily taped to
the top and/or bottom of the array can be an invaluable aiming
aid.
If you have chosen one of the geometries that provide a
smooth curvature and a relatively narrow vertical coverage,
then aiming will be more in line with the kinds of concerns and
methods used for high Q point sources, but you still have to
pay attention to assuring that seating areas of primary concern
are within that pattern.
If you have chosen one of the dual radius curvatures, the top
section will be handling the long throw coverage, and the
bottom section will be providing the short throw coverage.
Once again, use of the familiar tools for aiming point sources
and clusters will be helpful here, as long as you realize that you
have two different coverage zones.
Peavey has teamed with EASE Focus software to bring
you line array aiming software with the Peavey Versarray
system included in the database. Check with your Peavey
representative, or visit the Peavey web site for more
information.

The sad truth of the matter is that you cannot EQ a line array
using a single microphone position or even several different mic
positions averaged out, unless special techniques are used and
fully understood. Due to the way a line array works, it just isn’t
very accurate to try and use point-source techniques for EQ.
It is strongly advised that you do not try to use a single mic
placed out in the listening area, and then try to use an RTA or
other spectrum analyzer to try and “fix” things, as the single
mic location will create an erroneous impression of what
is going on. Line arrays have special properties that make
equalizing via measurement much more difficult to do without
taking a lot more variables into account.

15
SPECIFICATIONS Versarray212
Peavey provides the settings for use with our digital signal
processors/crossovers, the VSX™ series, and the Digitool®
MX. These settings provide a nominally flat response from the
Versarray system, and can be used as the best starting point
for line array use in most any venue. Once you have the system
up and running with these settings, minor overall tonal balance
changes can be made BY EAR to suit that particular venue and
situation.
Listen for overall EQ for the room only, which should involve
more in the way of simple tone control type adjustments, rather
than a lot of 1/3 octave EQ or parametric EQ adjustments.
Instead, the use of a shelf filter for boost or cut at the frequency
extremes as a whole would be more appropriate.

The processor settings that are current as of the publication of
this spec sheet are included herein.
Check with Peavey or visit the Peavey web site at:
http://www.peavey.com
for the latest crossover and EQ setting information.

 Before attempting to suspend this speaker, consult
a certified structural engineer. Speaker can fall from improper
suspension, resulting in serious injury and property damage.
Use only the correct mating hardware. All associated rigging is
the responsibility of others.
The Versarray 212 has the coupling brackets mated to the
cabinet brackets by using the supplied 3/8” diameter Quick
Release Positive Lock Pins. If more of the Quick Release
Positive Lock Pins are needed, they are Peavey service part
number 31501192 (this is an assembly of 3 pins connected
together via coated wire tethers), and Accessory part number
00586490.
When the Quick Release Positive Lock Pins are inserted, they
should be fully seated, so that the black shoulder near the
middle of the pin has been placed flush with the side of the
bracket. You will have to fully depress the center push-button
to do this. You should not be able to pull these pins out unless
the center push-button is fully depressed.
Below are diagrams of how the pins should be placed to
achieve the various angles the rigging hardware is capable
of being set for. Always use three pins per side per cabinet
coupling to fly the Versarray 212 cabinets! That would be a total
of 6 pins per side for a cabinet in the middle of a line array.
Note that we only show the pin arrangements for the first
5 degrees of tilt for one side of the cabinet. Each cabinet
is capable of being angled 5 degrees from nominal, for a
total maximum of 10 degrees between two cabinets. For
intermediate angles less than 10 degrees, but greater than 2
degrees, there are multiple combinations of angling and pin
arrangements that will result in a given angle.
For example, if you wish to angle a cabinet 7 degrees from
the angle of the previous one, you could set the angle of the
bottom set of pins for the first cabinet to 5 degrees and the top
set of pins for the second cabinet to 2 degrees, OR you could
angle the first cabinet 4 degrees and the second cabinet 3
degrees, OR you could angle the first cabinet only 3 degrees,


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





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
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


Coupling Bracket Diagram
Cabinet Bracket Diagram

16
SPECIFICATIONS Versarray212
and then angle the second cabinet 4 degrees, and so on.
Since there are multiple methods of achieving the same angle,
we recommend that you choose a methodology of angling
the cabinets and stick it so as to avoid problems such as
misalignments between the two sides.
It helps avoid frustration and wasted time if you agree to a
fixed method of setting the angles between a pair of cabinets,
such as the top portion of the sets of pins between two
cabinets is always set first and maxed out before starting to
use the angling of the bottom set of pins. This would mean that
in the example given above, the first pairing of angles would
automatically be used. This helps prevent the two sides from
having different angles set for the first cabinets bottom set of
pins.
If the left side rigger were to set the bottom of the first
cabinet’s pin set to 5 degrees and then the top of the second
cabinets pin set to 2 degrees, and the right side rigger was
attempting to set the bottom of the first cabinet to 4 degrees
and the top of the second cabinet to 3 degrees, the second
cabinet would be “twisted” within the overall chain of coupling
brackets, and it would make removing or inserting the pins
much harder than if both sides were using the same angle
pairings for the bottom and top sections. This kind of issue
comes into play primarily when re-assembling a line array from
pre-assembled sections of a previous line array, where the pins
on the second cabinets top set are already all set to 0 degrees,
or some other angle.

Do not use the Pull-Back Bar for overhead suspension; use the
Pull-Back Bar at the bottom of the array as an aiming device
ONLY.
If you are not sure how to assemble the rigging or how to fly
the array once it has been arrayed, consult a certified structural
engineer.
Before you fly the array, be sure to inspect the rigging and
flying hardware to insure that it is mechanically sound and has
not been damaged, there should be no significant distortion of
the shape of the coupling brackets, cabinet brackets, or fly bar,
and the hardware should be checked for tightness and proper
seating.






Use only the correct mating hardware. All associated rigging is
the responsibility of others.
 The Quick Release Positive Lock Pins from the
Versarray 112 WILL NOT lock in place on the Versarray 212, and
should not be used or attempted to be used with the Versarray
212. The Versarray 212 uses 3/8” diameter pins, and the
Versarray 112 uses 1/4” diameter pins.

17
SPECIFICATIONS Versarray212
Versarray 212 Hang Angles
Angle Between Cabinets

18
SPECIFICATIONS Versarray212
Cabinet Fly Bar Diagram
Cabinet Pull Back Bar Diagram

19
SPECIFICATIONS Versarray212
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


Versarray™ 212 Cabinet Dimensions

20
SPECIFICATIONS Versarray212
80305511
Features and specifications are subject to change without notice.
Peavey Electronics Corporation • 5022 Hartley Peavey Drive • Meridian, MS 39305 • [phone] • www.peavey.com
©2009 Printed in the U.S.A. 03/09
Logo referenced in Directive 2002/96/EC Annex IV
(OJ(L)37/38,13.02.03 and defined in EN 50419: 2005
The bar is the symbol for marking of new waste and
is applied only to equipment manufactured after
13 August 2005