Peavey RSM 4062 User's Manual
Contents
1. Recommended Recommended Recommended Stereo Line Mic Line Mic Input Input Input Channels Channels Channels This is typical of Channels 1 8 Mic or Line 5 8005 5 8005 D D Ads CES SP 2G SP 2G Keyboard SP 112M lt 112 Monitors CONFIGURATION FEATURES 16 Channel stereo mixer with two Super Mic input channels six mic line input channels eight stereo input channels Four aux sends and six group sends for effects Any of the eight stereo input channels 9 16 can be used as stereo returns for effects Main L R outputs Monitor 1 and 2 outputs from Aux 1 2 Mix B Cassette DAT stereo L R mixdown e Headphone monitoring of PFL channels Main L R B monitor signal NOTE For mono operation use the Mono Output and level control instad of the Main L R Outputs NOTE When using the Aux or Group Outputs as effects sends do not return to an input channel with that same send selected For example if you are sending Group 1 to a stereo effects unit and returning to Channel 16 L amp R do NOT assign Channel 16 to the Group 1 2 bus via the Assign Switch This will cause feedback 22 RSM 4062 Personal Audio Workstation Recommended Hookup Recording Deck Cassette DAT Recommended Recommended Recommended Stereo Line Mic Input Input Channels Channels2. Printed in the U S A 10 99
3. Studio Monitors Optional 8 Track CONFIGURATION FEATURES 8 Input channels with direct outputs to digital 8 track Channel returns from 8 track selectable by Tape flip switch no extra patching required Control Room monitoring Cassette or DAT stereo mixdown e Patch point for amp R signal e Effects assigned through Aux 3 and returned in stereo to Channel 11 24 RSM 4062 SPECIFICATIONS RSM 4062 Rack Mountable Recording and Sound Reinforcement Console Input Specifications Input Input Pot Bal Connector Imped Setting Min Max UnBal Ohms Min d LE 7 XLR Pin 1 Ground Pin 2 Pin 3 B Max Gain 0 50 28 50 dB Microphone Channels 1 16 Min Gain 30 10 12 10 dB XLR Pin 1 Ground Pin 2 Pin 3 Gain Microphone with pad Channels 1 amp 2 Max Gain 50 30 30 Min Gain 10 10 32 10 dB 50 10 Line Max Gain 30 Channels 30 dB 1 8 Min Gain 10 32 10 B m 20k Max Gain 22 Unbal 6 dB 1 4 TRS Ring Sleeve Ground 2k 20 k 20 k Tape 1 4 TS Channel 21 Unbal Tip 1 8 Sleeve Ground L Mono R 1 4 TS Tip Sleeve Ground 1 4 TS Two Track N A 24 Tip Tape Sleeve Ground 0 dBu 0 775V RSM Minimum input level Sensitivity is the smalles
4. Art ap PFL SOLO L GROUP 1 3333338 2001 A S E RH UE d LEVELS T0 p ANN ee af Sa DM M S eee E ITO L 7 LEVEL2 682 E 2 ide H FS E RE UE ET mens 8 ieee gol 09 PA E AUXI MIX BJL AUX1 MIX B L GROUPS QUT de em a a enon 12 Lo m re mu Eus e TO R 048 ae Eje IE HHH l TO AUX2 MIX B R 0484 GROUP6 TO AUX2 MIX B R GROUPG AUX1 MIX B L LEVEL 648 688 AUX1 10 10 1 i IH 9 HH HH RSTMAHHH 75 d ips els ep Ea A 54484 AUX2 MIX B R Bares narai X3 Ew m Hi AUX4 ee OUT OUT 5 ai UX5 EJ 5 gt gt 8484 AUX6 AUXS i B Le Ca m 2TRK EE PFL R CONTR HEADPHONES OUT HP LVL oe IX8 2TRK E Turre 8 400 OHM 2TRK INPUT 3t pq MIXB i PLM L R O dB 4 dBu a cu SURREY 21 RSM 4062 Stereo Recommended Hookup Recording Deck Sequencer Cassette DAT 4 0000000
5. a EN This is typical of Channels 1 8 Mic or Line 2 Compressor Typical of Channels 1 8 Tape In Direct Out Powered Multimedia Speakers Optional 8 Track Line Speaker Output See 8 Track Recording page 24 PC Soundcard CONFIGURATION FEATURES 15 channel mixer with two Super Mic input channels six mic line input channels seven stereo input channels e Stereo Monitor Output from L R Outputs to multimedia speakers Cassette DAT stereo L R mixdown Sound card input taken from Groups 1 amp 2 allows for separate mix to sound card by assigning input channels to mix via group assign switch e Sound card output returned to RSM 1642 on stereo input Channel 16 allows for separate speaker and headphone monitoring Use PFL switches to select headphone content select PFL on Groups 1 amp 2 to monitor output to soundcard select PFL on channel 16 to monitor soundcard output 23 RSM 4062 8 Recording Recommended Hookup Sequencer ecording Dec Cassette DAT _ 00000000 00000 00 imimimimimimimim Recommended Recommended Line Mic Input Channels Channels Recommended Stereo Return Channels This is typical of Channels 1 8 Mic or Line 5 200 2 Compressor ltaFex 5 TN EXIT Typical of ET Channels 1 8 we Tape In Direct Out
6. te il we ICH SOLO L ELE NE NSERT ne LOW L MID HIGH SOLO R wie 1717 FREQ O38 c Seater MEER ONIS 50 10 10 dB UX3 4 j i a BR Wel deal 2 PETET 4 5 AUX4IES zoe 6 L TAPE IN TDL EI SUPER CHANNELS PCON L DIRECT OUT 1 amp 2 LI Ip m 3 3 5 oO Of Of Oo u 0 wl i 4 ajl of of 48V LINE IN GAIN MIC LINE LCF pa LON 10 504 75Hz 5 pw GR2 HH H Tod DL H MID HIGH GR4 H a 5010 1 1 Rees 21 1 Fic ac LOW 7 50 TO 10 dBu M ERREEESSRES 24 pepe eH 24 AUX6 z AUX5 6 PFL F1 ERES INPUT CHANNELS EE TRE PCON DIRECT OUT Qus 9 GAIN GROUP 5 6 MUTE 10 5048 CHANNEL 4 GR2 Low MID HIGH 109 GR4 4 9484 E E E SOLO L 5010 8 P E _ EN i H AUX3 4 AUX5 159 P3 Aux4 2 AUX6 REESE 2 AUX5 6 NEC INPUT CHANNELS PCON aE 5 GRE H amp 2
7. PFL PFL 1048 dBu ror eor 1048 Wh SOLO R EROU TO E EVEL mem OUT GR2 El 0280 7 ol OdBu PFL PFL 22154 5dB 1048 GROUP2 L il GROUPS 5 AND 6 OUTPUTS CHANNELS 9 16 Groups 5 and 6 do not have faders like Groups 1 4 Groups 5 and 6 are meant to provide a stereo signal 5 Left and 6 Right to be placed on any of the following busses Groups 1 2 Groups 3 4 Main Left Right and the Aux 1 2 MIX B All busses are selectable by switch except for the Aux 1 2 MIX B buss The output of Groups 5 and 6 to the Aux 1 2 MIX B is controlled by two separate rotary level controls Groups 5 and 6 are not PFL selectable unless they are assigned to Groups 1 2 Groups 3 4 Main Left Right or the level is adjusted to pass the signal to the Aux 1 2 MIX B PFL can be selected from within those areas The following block diagram shows the Groups 5 and 6 GROUPS avximixtelt AUX1 MIX 8 L GROUPS QUT To GR3 GR5 T0 L T0 GRI M cu 10 683 OdBu d 86 _10 6 4_ 0dBu BL cn TO R T0 CR2 iii ToGR4 T0 AUX2 MIX B R GROUPS6 AUX2 MIX B R GROUP6 AUX 1 AND 2 OUTPUTS Aux 1 and 2 also referred to as stereo MIX B is a pre fader stereo mix ideal for monitor applications As mentioned in the previous section Groups 5 and 6 can
8. ENGLISH RSM 4062 Rack Mountable Recording and Sound Reinforcement Mixer ll INTRODUCTION Thank you for purchasing the Peavey RSM 4062 The RSM 4062 is a 16 channel rack mountable recording and sound reinforcement mixer with incredible versatility Its architecture was designed to enhance any 8 track recording configuration right down to its mounting options Its impressive features list requires very detailed explanations This guide will help to describe those features by dividing the RSM 4062 into various groups To begin let s identify these features Sixteen input channels with EQ pan aux and group assign controls Four different types of input channel configurations for outstanding versatility Universal chassis design allowing rackmount or desktop placement Very low noise mic inputs XLR with gain trim on all input channels Smooth 60 mm fader on each channel and Groups 1 4 Phantom power with separate defeat switches for Channels 1 2 and 3 16 Channels 1 8 optimized for 8 track recording direct output tape input and input select switch Channels 9 16 optimized for stereo Insert in out jacks on Channels 1 8 Six aux outputs 2 balanced XLR Four mono subgroups 1 through 4 One stereo subgroup pair 5 and 6 Phase and pad switches on Super Channels 1 and 2 Mute switch clip LED and signal present LED on all input channels Pre Fader Stereo Mix B Aux 1 and 2 Switchable low cut fi
9. 20 Hz 20 kHz Mic Input to L R Master outs nominal level 22 Hz to 80 kHz BW 0 005 1 kHz Mic Input to L R Master outs nominal level 22 Hz to 22 kHz BW Hum and Noise EIN 128 dBu Terminated 150 Ohms 26 All Faders down Master Fader Nom Chan Fader down All Faders Nom Min Gain All Faders Nom Max Gain Channel Muted Master L R Ref Nom Out level 4 dBu All Controls down Master control Nom Chan control down All Controls Nom Min Gain All Controls Nom Max Gain Channel Muted Aux 1 2 Mix B L R Ref Nom Out Level 4 dBu All Faders down Group Fader Nom Chan Fader down All Faders Nom Min Gain All Faders Nom Max Gain Channel Muted Group 1 to 4 Ref Nom Out Lvel OdBu All Controls down Channel Control Nom Unity Gain Channel Control Max Gain Group 5 to 6 Ref Nom Out Level 0 dBu All Channel controls down Channel Controls Nom Min Gain Channel Controls Nom Max Gain Channel Muted Aux 3 to 6 Ref Nom Out Level 0 dBu Hum and Noise with filter 22 Hz to 22 kHz Crosstalk Channel Adjacent Input Channel LtoR to Even Group 1 thru 4 Common Mode Rejection Ratio C M R R MIC Input 70 dB Typical 1 kHz Max Gain 60 dB Typical 20 Hz to 20 kHz Max Gain 60 dB Typical 1 kHz Min Gain Meters Two peak level meters with 33 to 9 dB of range 0
10. flip switch directing either the MIC LINE input signal or TAPE input signal through the channel If no 1 4 jack is plugged into the TAPE input the mic line signal is applied to the TAPE input regardless of the flip switch position HI EQ The HI EQ is a shelving type of active tone control that varies the frequency range above 12 5 kHz by 15 MID dB EQ This is a bandpass boost cut type of active tone control that varies the mid frequency levels 15 dB within the frequency range 40 Hz to 1 200 Hz MID Hz SHIFT This determines the center frequency of the MID EQ which vaires between 40 Hz to 1 200 Hz LO EQ The LO EQ is a shelving type of active tone control that varies the low frequency levels 15 dB Corner frequency is 80 Hz AUX 1 2 MIX B L R These controls adjust the level of the channel pre fader signal that is added to AUX 1 2 mix Unity gain is at the center detente position and 10 dB of gain in the full clockwise position These also serve as a MIX B L R mix AUX 3 5 AUX 4 6 These two controls adjust the level of the channel post fader signal that is added to either AUX 3 4 or AUX 5 6 mix Unity gain is at the center detente position and 10 dB of gain in the full clockwise position AUX 3 4 AUX 5 6 SWITCH This switch establishes which aux send the channel post fader signal will be present on The out position picks up the post fader channel signal and sends it to the AUX 3 4 mi
11. it all begins at the channel input stage The following block shows the topology and basic signal flow of Input Channels 1 2 These two channels have special features and differ from Channels 3 8 POLARITY GAIN MIC LINE FADER MUTE 10 5008 4 E L MIO E 1848 B 0dBu i MUTE EQ 19481 1048 L R GR1 GR2 GR3 GR4 SOLO L SOLO R 3 AUX MIX B AUX AUX3 4 its UE 1 27 AUXS PLININS SSE cori s ge AUX6 IN IN i SIGNAL PFL PFL YELLOW AUX5 6 1 T INPUT SUPER CHANNELS DIRECT QUT 1 amp 2 Hie Reading the diagram from left to right standard signal flow you ll find a mic input line input input pad switch polarity switch gain control and tape input select switch When the tape input is selected all previous features mentioned above are bypassed From there the signal passes through the insert jack and through the low mid and high EQ s The mid EQ center frequency is adjustable from 40 Hz to 1 2 kHz The signal for the PFL is taken at this point in the signal chain when the PFL switch is selected for the channel The signal also continues on to the fader mute switch direct out and pan controls Finally the signal is sent to the various busses as determined by the assign switches Channels 1 and 2 can send signal to the fo
12. OF THIS WARRANTY Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you Exclusions of Damages PEAVEY S LIABILITY FOR ANY DEFECTIVE PRODUCT IS LIMITED TO THE REPAIR OR REPLACEMENT OF THE PRODUCT AT PEAVEY S OPTION IF WE ELECT TO REPLACE THE PRODUCT THE REPLACEMENT MAY BE A RECONDITIONED UNIT PEAVEY SHALL NOT BE LIABLE FOR DAMAGES BASED ON INCONVENIENCE LOSS OF USE LOST PROFITS LOST SAVINGS DAMAGE TO ANY OTHER EQUIPMENT OR OTHER ITEMS AT THE SITE OF USE OR ANY OTHER DAMAGES WHETHER INCIDENTAL CONSEQUENTIAL OR OTHERWISE EVEN IF PEAVEY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES Some states do not allow the exclusion or limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you This Warranty gives you specific legal rights and you may also have other rights which vary from state to state If you have any questions about this warranty or service received or if you need assistance in locating an Authorized Service Center please contact the Peavey International Service Center at 601 483 5365 Peavey Canada Ltd at 905 475 2578 Features and specifications subject to change without notice 1999 FELVEY Features and specifications subject to change without notice Peavey Electronics Corporation 711 A Street Meridian MS 39301 601 483 5365 FAX 601 486 1278 www peavey com
13. SOLO signal is connected to the L and R meter and it is affected by the mute switch Depressing any one of the PFL switches illuminates the corresponding channel PFL yellow LED and simultaneously activates a blinking 1 Hz yellow master LED in the master PFL section ASSIGNMENT SWITCHES L R Group 1 2 Group 3 4 These switches assign post fader post pan channel signal to the corresponding L R Group 1 2 or Group 3 4 bus CHANNEL 3 8 These channels are identical with Channel 1 and 2 with the following exceptions There are no PAD and POLARITY switches 37 LOW CUT This is a high pass filter with a corner frequency of 75 Hz It is used to filler out rumble wind noise and other unwanted low frequency components of the signal Switchable and off 38 MID Hz EQ This bandpass boost cut EQ feature is an active tone control It varies the mid frequency level 15 dB with a fixed center frequency of 800 Hz 15 CHANNEL 9 16 BACK PANEL CONNECTIONS 39 MICROPHONE INPUT The MICROPHONE INPUT XLR balanced input for a low impedance microphone Pin 2 is the positive input 40 STEREO LINE INPUT These two 1 4 TS unbalanced line inputs LEFT MONO and RIGHT are for high level line signals If there is no 1 4 jack plugged into the RIGHT input the signal from the LEFT MONO jack is applied to both L and R inputs On the stereo Channels 15 and 16 if selected the LINE INPUT signals are sent directly
14. be sent to this Aux mix by adjusting the separate level controls can be used like a balance see number 57 page 18 The Aux MIX B Master section provides an Aux 1 L level control an Aux 2 R level control and a L R switch to determine if the mix is sent to the Main Left Right buss Remember if the Main Left Right buss is selected by the L R switch the level controls will be in the signal path thus affecting the signal level ap The following block diagram shows the Aux 1 and 2 signal flow AUXT1T MIX B L LEVEL AAL 6dB 648 Ss ae MIXBL OUT AUX 1 Fo 10 1 NS De 4dBu jg 1998 048 E AUX2 e 7s 5 7 AUX2 E OdBu MIXBR gt OUT 40Bu N AUX 3 4 5 AND 6 OUTPUTS Aux 3 4 o and 6 are quite simple in structure Each signal is routed to its output Levels on these Aux mixes are controlled by the individual input channel controls for the respective Aux channel The following block diagram shows the Aux 3 4 5 and 6 signal flow AUX3 048 038 0dBu T AUXS i AUX4 AUX4 OUT OUT dBu 0dBu 048 04B AUXS P 0484 0484 g D p a 5 048 048 QUT QUT HEADPHONE AND CONTROL ROOM OUTPUTS last section is the Headphone Control Room section The purpose of this area is to provide the headphone output and control room output as well as determine what mix is present at those outpu
15. create a balanced XLR Mono signal All three outputs are controlled by the master Left and Right faders The Mono output is also controlled by its own level control the Mono Out Level Use this control to adjust the level of the Mono Out and use the master Left and Right faders to adjust the balance as desired The following block diagram shows the master L R Mono output section LEFT INSERT TE L FADER a 4 1048 i OUT Sef 4 S 0dBu gt Jl gt gt 4dBu 348 dB ee 348 098 dBu R FADER 1048 1048 0dBu RIGHT dBu s dBu wales i 6 44 RIGHT 1 GROUPS 1 4 OUTPUTS The next mix is the Group mix Groups 1 4 are slightly different than Groups 5 and 6 Groups 1 4 have their own assign switches and faders similar to the input channels Each group 1 4 features a PFL switch Left L switch Right R switch and a master fader The switches assign the group signal to the particular buss For instance if you group the various drums of a drum kit into Group 1 pressing the Group 1 L switch would send that group mix to the Left bus How much of that signal present on the Left bus is determined by the group s master fader The following block diagram shows Groups 1 and 2 typical of 3 and 4 CROUP Ts Se re rson ote GROUP SOLO L OUT PN Ne 2 T0 L BD T CB
16. lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped If this product is to be mounted in an equipment rack rear support should be provided Exposure to extremely high noise levels may cause a permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time The U S Government s Occupational and Health Administration OSHA has specified the following permissible noise level exposures Duration Per Day In Hours Sound Level dBA Slow Response 90 92 95 97 100 2 102 105 1 2 110 1 4 less 115 1 _ According to OSHA exposure excess of the above permissible limits could result some hearing loss Ear plugs or protectors to the ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss if exposure is in excess of the limits as set forth above To ensure against potentially dangerous exposure to high sound pressure levels it is recommended that all persons exposed
17. line signal into mono and directs it through its corresponding Channel 9 14 In this position the mic signal is muted On the stereo channels 15 and 16 the down position directs the stereo line input signal to the L and R sub channels LINE LEVEL The LINE LEVEL control varies the gain of the stereo line input from infinity to unity gain at the center detente position and to 6 dB at the full clockwise position 16 46 47 MASTER SECTION AUX 3 5 AUX 4 6 AUX 3 5 adjusts the level of the channel s LEFT post fader signal that is added to either AUX 3 or AUX 5 mix according to the AUX 3 4 AUX 5 6 switch position AUX 4 6 adjusts the level of the channel s RIGHT post fader signal that is added to either AUX 4 or AUX 6 mix according to the AUX 3 4 AUX 5 6 switch position Unity gain is at the center detente position and 10 dB of gain is at the full clockwise position PFL The PFL switch connects the channel s and R pre fader signals to the PFL single mix and the post fader post balance L and R signals to the SOLO L R mix At the same time it switches the headphone and control room outputs from the Master L R main mix default to the PFL or SOLO mix according to the position of the GLOBAL PFL SOLO switch on the master section It also connects the PFL signal to the R meter to aid the setting of the input gain and is not affected by the mute switch position The right PFL meter will read 0
18. tip has the send signal the ring is the return input A switch in the jack normally connects the send to the return until a plug is inserted TAPE INPUT This 1 4 TS unbalanced tape input accepts the relatively high level signals returned from the recording equipment It can be routed through the channel alternatively with the MIC LINE inputs using the MIC LINE TAPE 22 switch DIRECT OUTPUT This is a 1 4 TS post fader post mute pre pan unbalanced channel output ideal for a tape send PAD SWITCH CHANNEL 1 AND 2 ONLY The Pad Switch attenuates the microphone input signal by 20 dB This will increase the dynamic range to accommodate a higher input level before clipping POLARITY SWITCH CHANNEL 1 AND 2 ONLY The Polarity Switch reverses the phase of both microphone and line input signals This will compensate for an out of phase input that would otherwise cause frequency cancellations in the mix 13 CHANNEL 1 AND 2 FRONT PANEL FEATURES 21 22 23 24 25 26 27 28 29 The GAIN contol varies the gain of the channel to allow a wider input dynamic range The GAIN adjustment range is 10 dB to 50 dB or 10 dB to 30 dB when either 20 dB pad or the LINE INPUT 15 is used Proper adjustment of the input gain will maximize the signal to noise ratio It can be set by depressing the PFL switch 35 and adjusting for a 0 dB level at the R meter MIC LINE TAPE This is a
19. 2 MIX Adjustments range from infinity to unity gain at the center detente position reference setting to 10 dB at the full clockwise position 58 HEADPHONE OUTPUT This stereo TRS jack located on the front panel provides the signal to drive stereo headphones 54 Tip Left Ring Right Shield Ground The level the Headphones and Control room outputs is set by the headphone level control 59 These two outputs listen to L R Master output default or choice of 2TRK input or MIX B signals according to the position of the corresponding L R MIX B 2TRK switches in the headphone master section When one of the PFL SOLO switches on any channel or Group is engaged these outputs listen to the PFL mono signal in both headphones or to the SOLO stereo signal in the headphones according to the position of the global PFL SOLO switch in the headphone master section 59 60 61 HEADPHONE CR LEVEL CONTROL This control adjusts the level of the stereo Headphone and Control room outputs PFL SOLO A global switch that selects which signal PFL or SOLO is to be monitored on the headphone and CR outputs whenever one of the PFL switches on any channel or Group is engaged L R MIX B 2TRK SELECTORS These two switches select which source signal L R MIX B or 2TRK input is to be monitored on the headphone and CR outputs when none of the PFL switches on neither Channel nor Group is engaged 18 62 PFL S
20. 2 uL of 48V GAIN GROUP 5 6 MUTE EQ FADER uris ss 10 50dB CHANNEL 048 104B 1048 m BB Ea 4 mM 19 L3 2 ol o N o vi v mi x oj o mi o L R GR1 082 crs HS RENE SOLO L T DEM AUX2 EN AUX3 6 dB x EU TTT E E B E 0484 1 1 SIGNAL PFL PFL i 24 AUX6 sane WEE 2 NEST CHANNELS Peon SIGNAL POLARITY ABSOLUTE LEVEL GAIN ATTENUATION 20 AUX 1 AUX 1 dBu dBu B E 3dBu AUX2 AUX3 AUX4 AUX5 AUX6 PFL PFL BB5 SOLO L R 1 WT ES Lu LIMES m 0480 SOLO L SOLO R LGND 16V 16V GNDO ES 4 RSM 4062 Block Diagram E 048v L FADER edBu LEFT 348 1948 R FADER 104 10dB dBu gt 348 9048 dBu RIGHT J x
21. 4 Re M AA eee a 1 a a SOLO L SOLO R 1 1 242 24 2244 SR a aun AVA Amon ng i AUX1 n 55 E A 948 1 1 AUX2 0484 0dBu i AUX3 4 1 AUX 3 MEO CLIP MUTE Ss gt 1 Hey stem jer gt YELLOW AUX5 6 D STEREO INPUT CHANNELS L PCON dc uw eRe NOTE The line input select switch Channels 9 16 determines which input line or mic will be routed through the channel If the mic position is selected the stereo line signal is placed on the Group 5 L and 6 R This is a great way to add more versatility to your RSM 4062 and increase the possible number of inputs 22 OW 7 50 TO 10 dBu m LINE I C 120 e 5 When we speak of the various mixes the RSM 4062 we basically speaking of the resultant signals from the various busses found at the RSM 4062 outputs Let s take a look at the individual output sections Main Stereo L R and Mono Outputs The first and most common section is the master L R Mono output section In this section the RSM 4062 provides separate Left and Right outputs both balanced XLR and unbalanced 1 4 Each signal goes through a final pre fader insert jack to allow for the placement of master effects in the master L R signal chain In addition the Left and Right signals are also mixed L R to
22. ED CLIP MUTE EN 0dBv AUX4 A 1 22 E R SIGNAL PFL BEL YELLOW AUXS 6 wr o Channels 9 16 designed to accommodate stereo line inputs These channels eliminate the tape in tape input select switch mid sweep control of the EQ direct out and insert jacks Added to Channels 9 16 are a line input select switch separate line and mic level controls and a stereo pair of 1 4 input jacks The block diagram below is typical of Channels 9 14 Channels 9 14 can send signal to the following busses Main L R Groups 1 6 Aux 1 6 and PFL Solo GAIN GROUP 5 6 MUTE FADER MUTE PAN ASSIGN 10 10 5048 CHANNEL T AUXI 10dB 3dB EX 41x 8 2 d 8 Sa 2 CE L M i g x RED ECHTS 2 _ 5 688 IU l PEL 24 AUX6 SIGNAL PFL ee 22 5 J INPUT CHANNELS TS 9 14 GR5 Channels 15 and 16 are full featured stereo channels With this arrangement the Aux 1 and 2 signals are taken from the left and right pre fader and Pre EQ signals respectively The block diagram below is typical of these full feature stereo channels Channels 15 16 can send signal to the following busses Main L R Groups 1 6 Aux 1 6 and PFL Solo 48V GAIN GROUP 5 6 MUTE EQ FADER BAL ASSIGN 10 1 10 50dB CHANNEL L R 6 2 GR3 GR
23. OLO ACTIVE This yellow master PFL LED blinks when the PFL is active and its signal is overriding the default L R mix in the headphone and CR outputs and at the L R meters The signals that are present in the PFL mix can be identified by the individual LEDs lit near the corresponding Channel or Group PFL switch 63 PHANTOM POWER CHANNEL 1 2 CHANNEL 3 16 These two switches apply the 48V DC phantom power to the mic inputs of Super Channels 1 2 or Channels 3 16 separately Engaging Channels 1 2 switch on the master section applies 48V DC to the microphone XLR connectors of Channels 1 and 2 to power condenser microphones that require it Respectively engaging Channels 3 16 switch applies 48V DC voltage to the microphone XLR connectors of Channels 3 through 16 WARNING If phantom power is used do not connect unbalanced dynamic microphones or other devices that cannot handle this voltage Some wireless mic receivers may be damaged Consult their manuals The Line Input jacks 15 and 40 are not connected to the 48V supply and are safe for all input sources An unbalanced to balanced impedance converter such as the Peavey 5116 or 7201 female XLR or a Peavey 1 1 interface adapter can also be used to isolate the microphone input from the 48V phantom power supply 19 RSM 4062 Block Diagram 3dBu 4 48V PAD POLARITY GAIN MIC LINE FADER MUTE PAN 10 INDIV 10 500B wt IE
24. cl speakers baskets drivers diaphragm replacement kits and passive crossovers and all Accessories Tubes and Meters denotes additional warranty period applicable if optional Warranty Registration Card is completed and returned to Peavey by original retail purchaser within 90 days of purchase What Peavey Will Do We will repair or replace at Peavey s discretion products covered by warranty at no charge for labor or materials If the product or component must be shipped to Peavey for warranty service the consumer must pay initial shipping charges If the repairs are covered by warranty Peavey will pay the return shipping charges How To Get Warranty Service 1 Take the defective item and your sales receipt or other proof of date of purchase to your Authorized Peavey Dealer or Authorized Peavey Service Center OR 2 Ship the defective item prepaid to Peavey Electronics Corporation International Service Center 412 Highway 11 amp 80 East Meridian MS 39301 or Peavey Canada Ltd 95 Shields Court Markham Ontario Canada L3R 9T5 Include a detailed description of the problem together with a copy of your sales receipt or other proof of date of purchase as evidence of warranty coverage Also provide a complete return address Limitation of Implied Warranties ANY IMPLIED WARRANTIES INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURATION TO THE LENGTH
25. dB when there are signals present at both L and R channels simultaneously If there is only one signal present at either one of the L or R channels the meter will read 6 dB lower If the GLOBAL PFL SOLO switch is depressed the SOLO signal is connected to the L and R meter and it is affected by the mute switch 48 MASTER GROUP 1 4 FADERS This smooth 60 mm logarithmic Group 1 4 mix output level control sets the levels of the Group1 4 channels sent to the output connectors ranges from 97 to 10 dB The reference setting for these controls is 0 dB unity gain position 49 MASTER GROUP 1 4 ASSIGNMENT SWITCH Each ASSIGNMENT SWITCH assigns the Group post fader signal to the Master R channel 50 MASTER GROUP 1 4 L ASSIGNMENT SWITCH Each L ASSIGNMENT SWITCH assigns the Group post fader signal to the Master L channel 51 PFL The PFL switch connects the Group 1 4 pre fader signal to the PFL mix and the post fader signal to the SOLO L R mix At the same time it switches the headphone and control room outputs from the Master L R mix default to the PFL or SOLO mix according to the position of the GLOBAL PFL SOLO switch on the master section It also connects the PFL signal to the R meter The SOLO signal is connected to the L and R meter Depressing any one of the PFL switches illuminates the corresponding group yellow LED and simultaneously activates a blinking 1 Hz yellow master LED in the mas
26. dB reading corresponds to nominal output level 4 dBu at the balanced outputs or 0 dBu at the unbalanced outputs Dimensions In Rack H x W x D 13 980 x 19 x 8 094 35 51 cm x 48 26 cm x 20 56 cm On Table H x W x L 1 955 front 8 940 back x 19 x 13 151 4 96 22 71 cm x 48 26 cm x 33 4 cm Foot Print 12 157 x 17 070 30 88 cm x 43 36 cm Weight 20 3 Ibs 9 2 kg 27 RSM 4062 Channel 1 and 2 Mid EQ TIT ti NL LL A LL 1 111 20 50 100 200 500 2k 10k 20k 28 RSM 4062 Ch 3 8 Mid EQ Ze TAN AOM TN a E e ILL XH dL N NULL 29 RSM 4062 Channel Shelving EQ and LC Filter Hz 30 RSM 4062 Channel 15 Mid LALAN HAE HE hha 10 11 12 13 14 15 16 IMPORTANT SAFETY INSTRUCTIONS WARNING When using electric products basic cautions should always be followed including the following Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water For example near o
27. damaged replace this cord with one of the proper ratings 2 POWER SWITCH Place this switch in the position to apply power to RSM 4062 Return it to the O position A to turn the RSM 4062 off It is recommended that the unit be turned off while patching and or applying power to external equipment to be used in conjunction with the RSM 4062 The Power LED 3 will illuminate when power has been applied and the unit is on 3 POWER LED Located on the front right corner of the RSM 4062 this LED will illuminate when power is applied to the RSM 4062 indicating the unit is on V REAR PANEL INS AND OUTS This section describes the rear panel patchbay of the RSM 4062 where all inputs and outputs except the HEADPHONE OUTPUT can be found The actual input channel connections are described in section VI Input Channels After proper power has been supplied to the RSM 4062 the next step is to connect any outboard equipment such as recording devices effects units equalizers and power amps This section describes the optimum method for connecting your outboard devices to your mixer All connections should be made with the power turned off on all associated units including the RSM 4062 Always use high quality cables and connectors to ensure optimum performance and minimal noise 4 MASTER L R OUTPUTS Each of the Master L R channels has an 0 dBu 2 Ohm 1 4 unbalanced output and a 4 dBu 600 Ohm XLR balanced output The unbalanced a
28. llowing busses Main L R Groups 1 4 Aux 1 6 and PFL Solo Aux 1 and 2 are taken directly from the tape input when the tape is not selected on the tape input select switch This allows you to create a second mix MIX B on the Aux 1 and 2 busses TIP This is very useful when sending signals from the direct outs of Channels 1 8 to the inputs of an 8 track recorder Using the individual track outputs from the recorder you can return them to their respective channels at the tape inputs These input signals are then placed on the Aux 1 and 2 MIX B busses for monitoring tape playback See page 23 to view a hookup diagram of this configuration Now let s look at the other input channels Channels 3 16 to see how they differ Channels 3 8 are identical to Channels 1 and 2 with the following exceptions the addition of the low cut filter switchable and the deletion of the pad and polarity switches If you are mixing a device that may need a switchable pad and or polarity such as a bass drum it is recommended to place them on Channels 1 and 2 Also the mid EQ center frequency is adjustable from 100 Hz to 3 kHz The block diagram below is typical of Channels 3 8 and reflects the differences mentioned above Channels 3 8 can send signal to the following busses Main L R Groups 1 4 Aux 1 6 and PFL Solo 48V LINE IN GAIN MIC LINE LCF FADER MUTE PAN ASSN 10 SOLO L AAA 2 AUXI MIX B AUX3 4 1 A 1 24 AUX5 R
29. lter on Channels 3 8 Smooth 60 mm left and right master faders PFL SOLO on all input channels and subgroups Stereo headphone and control room outputs Balanced mono output XLR with separate level control Balanced stereo L R output XLR Unbalanced stereo L R output 1 4 Left and right master inserts 1 4 Stereo tape in 1 4 or RCA and tape out RCA jacks Stereo control room outputs 1 4 As you can see this mixer is packed with features Obviously we can only begin to describe the infinite hookup configurations and applications of which the RSM 4062 is capable We will however explain each feature and suggest some common uses as we go along As you use the RSM 4062 always keep in mind that the capabilities of this mixer are mostly limited to the imagination Now let s talk a bit about how this manual is set up and the format you can expect to encounter on the following pages Since we are dealing with one serious mixer the format for this guide will be laid out in the following order for simplicity Table of Contents Introduction You re reading it now Il Break Down IV Power V Rear Panel INs and OUTs VI Input Channels VII Master Control Section Block Diagram of Signal Flow Recommended Hookup Diagrams X Specifications and Warranty Each section begins with a small statement describing what the section is about and what you should expect to learn from its co
30. nd balanced outputs can be used simultaneously 5 The Mono Output is 4 dBu 600 Ohm XLR balanced output MONO OUT mixes the post fader L and R signals The output signal level is affected by the L R master faders as well as its own MONO LEVEL CONTROL 6 6 MONO LEVEL CONTROL This control adjusts the level on the MONO OUTPUT 5 Unity gain is at the center detente position and 6 dB of gain in the full clockwise position maximum 11 10 11 12 13 VI INPUT CHANNELS MAIN OUT RCA These outputs duplicate the MASTER L R main unbalanced output with a pair of RCA connectors for convenient connection to a tape machine input GROUP 1 6 OUTPUTS These six unbalanced 0 dBu 2 k Ohm 1 4 TS outputs provide the signals from GROUP 1 6 AUX 1 2 MIX B OUTPUTS Each of the two AUX1 2 MIX B L R master mix channels has a 0 dBu 2 k Ohm 1 4 unbalanced output and a 4 dBu 600 Ohm XLR balanced output which can be used simultaneously These are the MIX B outputs as well AUX 3 6 OUTPUTS These four unbalanced 0 dBu 2 k Ohm 1 4 TS outputs provide the signals from AUX 3 6 MASTER L R INSERT IN OUT See page 11 These two 1 4 stereo TRS jacks allow external device to be inserted into each of the signal paths pre fader in the Master L R channel The tip has the send signal The ring is the return input A switch in the jack normally connects the send to the return until a
31. ntent Beginning in Section IV you will find descriptions of the numbered features as well as a diagram showing the features physical location on your RSM 4062 oimply match the number of the description to the number on the associated diagram to help you locate it It is important that you carefully read this guide in its entirety Pay special attention to the notes and cautions throughout If possible keep this manual with your unit to use as reference when needed We are certain your RSM 4062 will provide you with a pleasurable mixing experience BREAK IT DOWN Before we jump right in let s break the RSM 4062 down into smaller units so we can observe them individually good that you get an understanding of these units before we begin hooking up external equipment This is a basic explanation of signal flow described in the order at which a signal progresses through each section of the RSM 4062 BUSSES Busses are the paths at which your RSM 4062 routes signal throughout its circuitry Viewing the RSM 4062 Block Diagram on page 20 the busses can be easily identified Towards the center of the drawing you will see 3 groups of vertical lines with black dots throughout These are the busses of your RSM 4062 There are essentially 18 busses in which audio signal is passed throughout the RSM 4062 These busses include Main L R Groups 1 6 Aux 1 6 PFL Solo L R and Control Room INPUT CHANNELS From a signal flow standpoint
32. plug is inserted CONTROL ROOM L R OUTPUT These two 0 dBu 10 k Ohm unbalanced 1 4 TS outputs provide the signal to drive the control room monitors The level is controlled from the HEADPHONE CR LEVEL CONTROL on the front panel TWO TRACK INPUT A 0 dBu 10 Ohm unbalanced 1 4 TS stereo input which allows the signal from an external tape machine to be monitored on the HP CR OUTPUT This input is duplicated with a pair of parallel RCA connectors The input channels of the RSM 4062 are the heart of its versatility Various channel configurations have been included to eliminate the need for patch cables and adapters This section will describe those different configurations and the numerous features of each 12 CHANNEL 1 AND 2 SUPER MIC LINE CHANNELS BACK PANEL CONNECTIONS 19 20 14 15 16 17 18 19 20 MICROPHONE INPUT This XLR balanced input is for a low impedance microphone or through 20 dB for a high level high impedance line source Pin 2 is the positive input Phantom power is available and is described in number 63 LINE INPUT The Line Input is 1 4 TRS balanced line level input for high level signals The tip is the positive input A standard 1 4 TS unbalanced connecion can be made here as well INSERT This 1 4 stereo TRS jack allows an external device to be inserted into the signal path between the MIC LINE TAPE inputs and before the EQ The
33. r in a bathtub swimming pool sink wet basement etc Clean only with a damp cloth Do not block any of the ventilation openings Install in accordance with manufacturer s instructions It should not be placed flat against a wall or placed in a built in enclosure that will impede the flow of cooling air Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding plug The wide blade or third prong is provided for your safety When the provided plug does not fit into your inlet consult an electrician for replacement of the obsolete outlet Never break off the grounding Write for our free booklet Shock Hazard and Grounding Connect only to a power supply of the type marked on the unit adjacent to the power supply cord Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point they exit from the apparatus Only use attachments accessories provided by the manufacturer Use only with a cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over Unplug this apparatus during
34. t signal that will produce nominal output with controls set for maximum gain Maximum input signal that will cause clipping with controls set at nominal gain position Output Specifications Nom Min Load Impedance ms Master L R 2 k 600 xp Group 1 6 Mix Output Level dBu Balance Connector Unbalanced 1 4 TS Unbalanced Tip Sleeve Ground XLR 26 24 Balanced 26 24 Balanced Pin 1 Ground Unbalanced H Pin 2 Pin 3 XLR Pin 1 Ground Pin 2 Pin 3 1 4 TS Tip Sleeve Ground 1 4 TS omo Unbalanced Tip Sleeve Ground XLR 26 24 Balanced Pin 1 Ground Pin 2 Pin 3 1 4 TS 22 Unbalanced Tip Sleeve Ground 1 4 TS 22 Unbalanced Tip Sleeve Ground 1 4 TRS 8 Unbalanced Tip Left 22 No load Ring Right Sleeve Ground 2 k 600 Control Room Headphones k NO x 5 0 dBu 0 775V RSM Mic Input to Channel Insert Send Variable 10 dB to 50 dB Mic Input to Channel Direct Output Ch 1 to 8 Variable 20 dB to 60 dB Mic Input to Group 1 to 4 or L R out 70 dB Mic Input to Master L R through Group 1 to 4 80 dB Frequency Response Mic Input to L R Master 20 Hz to 20 kHz 0 1 dB Gain 20 Hz to 20 kHz 0 5 dB Min Gain Phase Response Mic Input to L R Master 30 deg 20 Hz to 20 kHz Total Harmonic Distortion THD 0 01
35. ter PFL section 52 MASTER L R FADERS These smooth 60 mm logarithmic Master L R mix output level controls set the levels of the Master L R channels sent to the output connectors ranges from 97 to 10 dB The reference setting for these controls is 0 dB unity gain position 17 53 57 LED METER This two channel 12 segment LED peak level meter with 33 to 9 dB range and CLIP indicator 2 dB below clipping displays the Master L R signal default The OdB reading corresponds to 4 dBu at the balanced outputs or 0 dBu at the unbalanced outputs The R meter is also used with priority for PFL metering Both L and R channels are used for SOLO L R metering when the global PFL SOLO switch is depressed and any of the channel or group PFL switches is engaged 54 AUX 1 2 MIX B L R MASTERS These controls set the levels of the AUX 1 2 MIX B L R channels sent to the output connectors It ranges from infinity to unity gain at the center detente position reference setting to 6 dB at full clockwise 99 AUX 1 2 TO L R ASSIGNMENT SWITCH This switch connects the pre fader AUX 1 2 mix signal to the main L R Master bus 56 GROUP 5 6 ASSIGNMENT SWITCHES These switches connect the Group 5 6 signal to MASTER L R GROUP 1 2 and GROUP 3 4 buses 57 GROUP 5 6 TO AUX 1 MIX B L and AUX 2 MIX B R CONTROLS These two rotary controls set the level of the GROUP 5 6 signal sent to AUX 1 MIX B L and AUX
36. to equipment capable of producing high sound pressure levels such as this amplification system be protected by hearing protectors while this unit is in operation SAVE THESE INSTRUCTIONS PEAVEY ELECTRONICS CORPORATION LIMITED WARRANTY Effective Date July 1 1998 What This Warranty Covers Your Peavey Warranty covers defects in material and workmanship in Peavey products purchased and serviced in the U S A and Canada What This Warranty Does Not Cover The Warranty does not cover 1 damage caused by accident misuse abuse improper installation or operation rental product modification or neg lect 2 damage occurring during shipment 3 damage caused by repair or service performed by persons not authorized by Peavey 4 products on which the serial number has been altered defaced or removed 5 products not purchased from an Authorized Peavey Dealer Who This Warranty Protects This Warranty protects only the original retail purchaser of the product How Long This Warranty Lasts The Warranty begins on the date of purchase by the original retail purchaser The duration of the Warranty is as follows Product Category Duration Guitars Basses Amplifiers Pre Amplifiers Mixers Electronic Crossovers and Equalizers 2 years 3 years 2 years 1 year Enclosures 3 years 2 years Digital Effect Devices and Keyboard and MIDI Controllers Speaker Components in
37. to the L and R sub channels 41 42 43 44 MID dB EQ This bandpass boost cut active tone control varies the mid frequency LEVELS 15 dB with a fixed center FREQUENCY of 800 Hz All remaining controls and features are identical with those on Channels 1 8 CHANNEL 15 AND 16 STEREO CHANNELS These two channels are full stereo channels with two separate L and R sub channel each All controls and functions are identical with those on Channels 9 14 with the following exceptions 45 AUX 1 2 MIX B L R AUX 1 MIX B L adjusts the level of the channel s LEFT pre fader signal that is added to AUX 1 mix AUX 2 MIX B R adjusts the level of the channel s RIGHT pre fader signal that is added to AUX 2 mix Unity gain at the center detente position and 10 dB of gain in maximum These serve also as a MIX L R mix CHANNEL 9 16 FRONT PANEL FEATURES GAIN The GAIN CONTROL varies the gain of the microphone input to allow a wider input dynamic range The gain adjustment range is 10 dB to 50 dB Proper adjustment of the mic gain will maximize the signal to noise ratio It can be set by depressing the PFL switch 35 and adjusting for a dB level at the meter GROUP 5 6 CHANNEL SWITCH This switch selects where the stereo line input signal is to be sent The out position routes the signal to the Group 5 6 bus The mic input signal is routed through the channel The depressed position mixes the stereo
38. tor it This disables the ability to hear the MIX B 2 TRK and Main Left Right mixes through the headphone or control room outputs The following block diagram shows the signal iow of the Headphone Contro Room section With the RSM 4062 broken down into subsections it is much easier to route signals throughout the mixer and obtain the various mixes and sub mixes that you desire Use this section along with the overall RSM 4062 Block Diagrami on page 20 as a reference remainder of this guide ICONTR i HEADPHONES HP LVL d ML SICCA 8 400 CR OUT pneus BRL 04B 4 04dBu IV POWER This section describes the application of AC power to your RSM 4062 It will describe the proper power connections and the process for properly turning your mixer on and off The RSM 4062 is powered by an internal transformer and built in linear power supply rated at 40VA The AC feed to the mixer is accomplished by a standard IEC line cord and a ine POWER switch located on the back pones 10 REMOVABLE AC POWER CORD This receptacle is for the IEC line cord included which provides AC power to the unit Connect the line cord to this connector and to a properly grounded AC supply Damage to the equipment may occur if an improper line voltage is used see voltage marking on unit Never remove or cut the ground pin of the line cord plug This unit is supplied with a properly rated line cord When lost or
39. ts This section also provides the Tape In Out functions of the RSM 4062 Up to this point we haven t discussed the PFL Solo functions very much Since these are monitored in the headphones and or control room mixes they are included here as well Both levels are determined by the Headphone Control Room Level control AUX6 Tape Output jacks stereo RCA carry the Main Left Right signal allowing you to tape Main L R mix on a stereo deck The Tape Input jacks both 1 4 and RCA stereo pairs provide a means to monitor the tape output from your deck on either headphones and or control room speakers This will only happen when the following conditions are met no input channel or group PFL switches are activated the MIX B 2 TRK switch is in the 2 TRK position and the L R switch is in the down position Incidentally the Aux 1 and 2 MIX B can be heard by switching the MIX 2 switch to the MIX B position By placing the L R switch in the up position the Main Left Right signal can be heard regardless of the MIX B 2 TRK switch position Finally there is a PFL Solo switch to toggle between the PFL pre fader and Solo post mute post fader busses When any channel or group PFL switch has been selected the PFL Solo switch determines which PFL Solo is heard through the headphones and or control room speakers NOTE When a PFL switch is selected on any channel or group the RSM 4062 automatically switches to moni
40. x The down position picks up the post fader channel signal and sends it to the AUX 5 6 mix 14 30 31 32 33 34 35 36 The PAN control sets the channel signal in Group 1 2 and Group 3 or 4 master outputs according to the assignment switches position CHANNEL FADER This smooth 60 mm logarithmic channel output level control ranges from 97 to 10 dB sets the level sent to the L R Group 1 2 and Group 3 4 master channels when selected The reference setting for this control is 0 dB unity gain position MUTE This switch mutes all AUX 1 4 sends L R Group 1 2 Group 3 4 and Solo L R busses for the channel MUTE CLIP RED LED This red LED normally serves as a clip indicator 2 dB below clipping It lights continuously when the Mute button is engaged SIGNAL PFL YELLOW LED This yellow LED normally serves as a signal presence Indicator 15 dB It lights continuously when the PFL button is engaged PFL SOLO This switch connects the channel s pre fader signal to the PFL mix and the post fader post pan signal to the SOLO L R mix At the same time it switches the headphone and control room outputs from the Master L R mix default to the PFL or SOLO mix according to the position of the GLOBAL PFL SOLO switch in the master section It also connects the PFL signal to the R meter to aid the setting of the input gain and is not affected by the mute switch position The
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