Peavey XR-700 User's Manual
Contents
1. connected to the graphic outputs Whenever plugs are 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 tho system The graphic inputs are of relatively high impedance type 50K chms and require approximately a 1 volt AMS nominal level The graphic autpu s aro 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 600 ohms and is capable of better than 4 volts into a 600 chm load with considerably higher levels available into higher load impedances Signal from these outputs is normally patched to the graphic in switching jacks to completa the signal flow to the graphic equalizer power amp combination Connection of external de2. required to adequately handle the tremendous sound 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 tho operator to achieve superb results in virtually any mixing situation MONITOR SEND CONTROLS B The monitor send contro 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 notaffect 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 thelowandhigh EQ and a peak notch type response for the middle filter This EQ circuitry s hinge point
3. unmatched by any competing unit and 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 800 ohms as well as high impedance 50K ohms unbalanced inputs Each of these inputs feature extremely wide dynamic range and are fully transient protected to insure durability under road conditions While thase 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 MOST ELECTRONIC 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 stereo switching type jaci return to allow in line patching of auxiliary effects equalizers etc These jacks accept the standard rin
4. ITH EXTREMELY LONG SPEAKER CABLES OR WITH SNAKE INPUT OUTPUT MULTICABLES FUSE 12 The tuse is located within the cap ofthe fusehalder Itis necessary thatthe tuse be replaced with the proper type and value it should fail in order to avoid damage to the equipment and to prevent voiding the warranty If your unit repeatedly blows fuses itshould 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 amplifier properly Oneof the ON positions will yield ihe lowestamount of residual hum or popping 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 in systems LINE CORD 14 For your safety we have incorporated a three wire line main cable with proper grounding facilities tis not advisableto remove the ground pin under any circumstances I 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 kthat provides achannel send
5. XR 700 H ri 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 specifically designed for tne 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 Fesulting pan pots etc is not necessary when stereo powered mixers are Used to provice monitor power Peavey has always endeavored to avoid gingerbread features and provide equipment that will get the job done es ellas provide adequate flexibility performance valueanc most of all reliability The XR 700 is a prime example ofthis philosophy In this versatileunit we have eliminated the often useless stereo functions but have instead provided dual 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 active equalization circuit featuring shelving type lowandhigh EQwith a peak notch type middle EQ The effects send provides a mix for the internal reverberation system or anexterna
6. and The US GOVERNVENTS OCCUPATIONAL SAFETY ANO HEALTH ADMINISTRATION DONAT HAS SPECIFIED TE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES yr exrosune wins oF Me EARPL SIN THE CARP GANAR OR OVER 1 we Qu E S bane EG esc cancel main neicphore monitor iege tit stehe 7 oond g ighe qe PUTS EACH OF 7 CHANNELS Mas blanced ml A MON vabalaneag ne srd man Z INPUTS MASTER Ns tes aunta for mein monitor amp ec 1 aie t elle ase han Z unbalanced ine f Marine d ede power an OUTPUTS EACH OF 7 CHANNELS OUTPUTS MASTER PE MA Cd ine esen tor ein monitor sum main amp nomor ma eilt ing eel eco dow iso mein Sepe Fev gts om estare rw ach for MIXER SECTION CHANNEL MICROPHONE PUTS Mera Tai Leve 20 48438 fs Dm p Verl 4 ABM OS RUS CHANNEL LINE HIGH Z MIC INPUTS Eee MON PAN rs loc o input Lewe gov 39 wats n Peirano He LOCOS ne unsancen AS EFFECTS RETURN INPUT Echinpedares Naar 2 220k ore umaatanced Mec neck Cent bay AV AMS Minimum moot evel 18 dO EBK AMS simum Ings Level v RU A RS MAIN MONITOR CHANNEL SEND MAIN GRAPHIC MONITOR anahe a EXPECT HON Level Kenn Sarnen 0 dev Ha Namen Output te SAY BV AUS into BOK onme aa MASS Ouicut 1 COM DV NUS mio 689 aho load EFFECTS LOW LEVEL UNBALANCED OUTPUT A SOK shma or grater Nomina Ouraci 12 48V EEY AME Namun Sulgur o ao A AMS HEADPHONES Mono output lor m Powar
7. c tip sleeve type stereo plugs When a stereo plug is inserted into the out in jack the tip of the plug is connectedto thechannel send and the ring is connected tothe channel return while the sieeve is the common ground for both sendand return If a channel output is desired for an additional monitor sendor a direci output without breaking the internal link this can be accomplished by plugging a standard phone plug into the first detent click of the jack This unique send receive system enables interface of the XR 700 individual channels with a wide variety of auxiliary effects and equipment The effective output impedance is approximately 600ohms ata 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 are the 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 Tofacilitate 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 retur
8. e 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 tne graphic equalizers 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 by 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 thet there are no firm operating instructions that will result in the ideal EQ 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 th
9. e power amplifier has adequate headroom to handleany boost that may be incurred Ifyou boost 100 Hz by 3 da 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 Contrat rather than to use the majority of the equalizers in the boost position Since better overall signal to noise ratio will result As with any equalizer careful experimentation and a little common sense will yield the best results FEEDBACK CONTROL Graphic equalizers can be used to great advantage for 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 anly 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 contrals for an indicated flat response and slowly bring up the level by use of the channel or master lovol controls until the system starts to go into feedback Then very slo
10. ed mixers available while providing functional simplicity adequate to allow superlative performance even when used by relatively inexperienced operators Design power versatility interface capability and overall performanceset Ihe 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 700is 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 the 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 gain 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 Itis important to realize that not all breakup is caused by the mic signal overloading the input stage of the mixer ifthe 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
11. gnals 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 the monitor buss through the effects reverb to monitor contral 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 end monitor systems during a performance lectronic crossover in which the equalization controls CICONTROL LOCATION DIAGRAM 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 located in the circuit just before the internal 100 watt RMS 4 ohms power amplifiers and provide a very versatile and professional equalization of th
12. ion takes place whenever signal conditions exist which prevent the amplifiers from taithfully 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 since this 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 Tne compression LED light emitting diode indicators show when compression takes place As long as gain recuctionisoceurring the LED s will continue to illuminate thereby giving a valuable indication of this unique compression function PILOT LED 0 The pilot LED indicates when the electrical supply is switched on and is actually delivering power to the amplifier LED LEVEL DISPLAYS A The XR 700 features dual ten segment LED light emitting diode leve indicators These all electronic displays have no moving parts with resulting inertia as do conventional VU meters and provide instantaneous incication of output signal conditions instead of the delayed average type response of older VU level indicators HEADPHONE LEVEL S Th
13. is control determines the drive available from either headphone jack Itis important to note that this control sets the level of both main and monitor headphone jacks and operates as a sublevel oft the two internal power amplifiers NOTE Both headphone jacks ara of the stereo two circuil type but have been bridged to provide a mono signal to stora phones These jacks will accommodate any known headphones with impedances of 4 ohms or greater Mono phones will also work with this system Both headphene jacks may be used simultaneously MONITOR HEADPHONE JACK T This jack provides headphone level signal from the monitor amplifier whose leve 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 set with the headphone level control REAR PANEL The rear panel o the XR 700 contains all the interface connections to and from the electronic circuitry All Peavey consoles feature inputs and outputs on the rear of the console chassis Fram the manufacturing standpoint itis far easier and considerably less expensive to position mic inputs on the front of the chassis as many of our competitors Nave chosen 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 eic which does not lend itself to professionalism nor operator convenience Tne versatility offered by the XF 700 is
14. l effects unit Channel in out patch points are provided for maximum performance and interface flexibility The XR 700 master section provides several unique functions in addition tolevel controls for the three primary 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 the timbro of the reverb signal allowing superb reverb offects for widely varying program sources Two sevenband graphic equalizers allow precise incremental frequency compensation for both the main and the monitor functions The XR 700 s dual 100 watt 4 ohm power amplifiers feature our exclusive DDT compression patent applied for which allows absolute maximum performance from the outout 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 heedphone 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 XA 700 represents one of the most sophisticated power
15. n preamp which has its own level control located on the front panel This offects roturn is capable of handling a wide range of input signals andis a very high impedance type 220K ohms The effects return system connects to the main mixing buss and is intended for use when returning signals from oxtorral dovicas to the main mix Effects return signal may also be mixed into the monitor system via the effecte reverb to monitor control H EFFECTS OUTPUT SEND JACKS 6 Two output jacks from the effects buss are provided to enable matching to professional ine level as well as instrument evel electa devices The high level jack is a relatively low impedance 500 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 maln monitor sum output to provide a mix o both main and monitor systems for feed to various external devices This feature allows a high level signal to be fed to remote locations to enabie remote listening to the total program material being mixed through the XR 700 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
16. oa THE FOLLOWING SPECS ARE MEASURED WITH A NOMINAL INPUT OAIN SETTING Gr vie ao ALL CHANNELS ALL MASTEN SET D lodo Al Ed SET FLAT LOW Z INPUTS MEM NATED d dos ONMS HIGH Z INPUTS AND ALL OUTPUTS TERMINATED 47K OHMS DE neu cema matoa wth nus output PE rym g noae Mana on Ovenal DISTORTION AC e a Corse RS kokre aretina 13 45 B00 ie Posa BETEN con unge 2 he a amp RER Peak Notch Ange O Eren SS egen TS en vigo ross ac 2x Never oc nag Y m WE EM A iis Be Eng SUM Euh us er BE move a ans Bienen ug d eer d ae ere ssi un m y 2 ae U T 2 MAXIMUM AVAILABLE GAIN id Balanced om og iS a en summ EOS Pub NM below Vw 2042 a POWER REQUIREMENTS Domestic SON TA AE S Me Due to our tons for constant improvement features ano specications are suejeet io change without notice PEAVEY ELECTRONICS CORP 711 A Street Meridian MS 39301 Telephone 601 483 5365 Telex 504115 1984 Printed in U S A 80361035 5 84
17. position Flat response is obtained when theequalization control is in the vertical 12 00 o clock position MID FREQUENCY CONTROLS D The mid frequency control is capable of 15 dB boost or cut 600 Hzwith 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 EQ sinc 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 re 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 12 000 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 e
18. r amp Like the main it should be operated in the center of its range EFFECTS MASTER LEVEL CONTROL 1 The effects master control sets the signal level applied to the interna reverberation system and the effects output jack 6 It is important to note that no reverb effect or affects signal will result unless suitable settings of the master effects control are used The action of this control is similar to both the main and monitor master controlsand may be used accordingly to determine 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 retum control does not afec the leval available rom fhe effects output jack 6 located on the patch panel REVERB CONTOUR K This control is used to vary the timbre af 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 si
19. s and filter slopes have been precisely matched to produce optimum combining capabilities end 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 It should be remembered that the active equalization circuits are a form of are similar to level controls for their respective frequenoy bands Generally itis poor operating practice to use both high and low equalizer controls in 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 isa 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 wide 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 ie obtained with a right hand clockwise rotation from center position while cut is obtained with a left hand counterclockwise rotation from center
20. tio and headroom limits Remember that while mixing itis 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 leamed To properly operate a mixer during a Performance requires thorough knowledge and trained retlexes to allow proper responses underthe stress 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 Ihe master level control and generally should be operated in the center of iis 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 powe
21. vices such as tape decks etc to these outputs will in no way affect the normal operation of the XR 700 s other systems POWER AMP OUTPUTS 11 The power amp output jacks 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 for 4ohm total loads and each amplifier will supply maximum power into this impedance Different impedances may be used with the internal amplifiers with some sacrifice in cutpul power Caution should be observed in using lower than 4 ohm total 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 kt 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 W
22. wly adjust each section of the graphic equalizer until you find the one that has the most effect on the feedback Return ali othersectionsto 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 9B 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 0 The XA 700 is a compact and powerful system which features 100 watis RMS output per channel power amplifiers 4ohms with a new type of dynamic compression The compression effect enables us to maximize the performance o 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 compress
23. xception 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 the equalization 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 evel available from the effects output jack Itis importan to note that theetfects send controlisa post type adjustment which is located in the circuit after the channel level and equalization controls The user should be aware thatuso of the internal reverberation system can only occur when the channel level the channel effects send the mastereffects 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 ofmaximum control action This setting offers the best compromise between signal to noise ra
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