Peavey R6M 6*4 User's Manual
Contents
1. LED READOUT RANGE 21 to 6 dBV POWER REQUIREMENT 120 VAG 60 Hz 40 watts PEAVEY ELECTRONICS CORPORATION TH ASteetMeriian HS 8001 Telephone 601 483 5365 Telex 60416 Printedin U S A 91984 s n Que to our efforts for constant improvement toatures and specifications ere subject to change without notice 802000572. PATCH BETWEEN MICS MONITOR MIXER AND HOUSE MAIN MIXER SHOWN TYPICAL EACH CHANNEL Note Mie lines and snake cables mut be shielded Signals from mies or instruments on stage which are required in the monitor mix From fastruments or vocals not required in montor mix To main outfront mixer snake No additional splitter box required DIAGRAM B EXTERNALLY EQUALIZED MONITOR MIXES e e sez pee Sy Ouiput To Power Amp sar ju Do Output To Power Amp D d OUTPUTS AUXIN MASTER NOTES Use good quality shielded cords forall connections LOED 2 quae are shown bat system i capable of 4 equalized mines S Use 1 3 octave equalizers whenever poss DIAGRAM C SAMPLE SPEAKER POWER AMP PATCH Shielded Cord OUTPUTS AUXIN Taput OleeOee Ope oe Ou oo eelee ooo o Sampling Power Amp MASTER SAMPLINC SPEAKER This enclosure should always be the sume type and aiae that is used on stage so that sampling tonality willbe very similar to what the group is listening to prae ag RECORD INSTEREO el S FOUR TRACK RECORDING AUX EEEE rues MIXER PATCH Sape deck VA he PATCH AUX MIXER with shielded cables patch rom aux miner s output to RGM ax impute oureuts auxin MASTER NOTE Aux mixer not Tequlrel f
3. ger ROM 6x4 Recording Monitor Rack Mount Mixer Thanks for your purchase of the R6M Mixer This mixer has been designed to interface with virtually all out front main systems to accomplish the sophisticated procedure of separate stage monitor mixes as well as perform 4 track recording functions The compact rack mountable package allows the R6M to be very portable and may be racked in multiples when more than six channels are needed Many groups today are finding that one or two monitor mixes do not satisfy their requirements as players continue to ask for different instruments vocals etc in their monitors This product performs the job of separate monitor mixing without many of OPERATING GUIDE BENNENEEEEEEN the expensive gingerbread features that often increase the price to such a point that it is impossible for most groups to get into separate monitor mixes The R6M gives you the necessary capabilities for successfully accomplishing four totally separate monitor mixes Please read this manual and become familiar with all the features before attempting the complex job of doing separate stage monitor mixing Please be aware also that it takes experience to achieve a good monitor mix and don t expect to do a perfect job the first time you attempt to do a fully separate mix with the R6M Monitor Mixer or any other monitor mixer CAUTION TO PREVENT ELECTRICAL SHOCK OR FIRE HAZARD DO NOT EXPOSE T
4. are four level controls on each channel ofthe R6M Monitor Mixer which complete the monitor mix matrix and allow each instrument orvocal to be assigned to any orall of the four mixes The channel level controls should be operated near the zero indication unity gain whenever possible for optimum headroom and signal to noise Operation of this control above the zero point increases system gain and 4i noise and below the zero point sacrifices headroom Please notice each control is capable of 6 dB of gain above the zera unity gain position MASTER SECTION OUTPUT MIX LEVEL INDICATION Two ten segment LED arrays have been utilized to visually indicate the output level of each of the R6M s four separate mixes Masters 1 through 4 may be selected for visual output indication with the push indicator select switches located near the 10 segment LED arrays 21 dBV to 6 dBV Each main output is capable of 18 dEV so there is 12dBof headroom left when the fop LED flashes for each output section AC POWER SWITCH LED The Power Switch is a rocker type which is off at the bottom position and on at the top The LED indicates that the AC mains are supplying the necessary power to the mixer SAMPLE LEVEL Many times monitor applications require the monitor mix engineer s to have a sampling amp speaker system in orderto listen to the exact same mix the players are hearing The Sample Level Control is the gain determining element forthe sam
5. the master section must be set to the 049 gS 9 dy 9 y tee desired listening level and a solo button must be depressed NOTE Any number of master mixes may be monitored at the same time with the Solo Function MASTER MIX LEVEL All four master mix controls function identically to regulate the output level of each mix separately For example Master 1 feeds the output on the rear panel for mix 1 only These controls should be operated near the mid point or zero dB position for optimum headroom and signal to noise performance NOTE A setting above the zero dB position will increase output signal but will also increase system noise and a setting below zero dB will result in improved noise performance at the expense of less headroom Notice there is 14 dB of gain available above the zero position for situations where extra gain is required A rough rule of thumb for setting the master controls would be at the input sensitivity rating of the power amplifier for that particular mix For instance if the power amp sensitivity rating is 3 dBV then adjust the controls for that mix to 3 dB as a starting point REAR PANEL AUXILIARY INPUT JACK There is an Auxiliary Input for each separate mix to allow patching in other outboard signals such as additional monitor channels or an outboard monitor mixer There are no auxiliary input level controls associated with these jacks but the signal simply mixes into the master summing buss
6. HIS INSTRUI BEFORE USING THIS INSTRUMENT READ BACK COVER FOR rURTHE NT TO RAIN OR MOISTURE WARNINGS INPUT CAIN CONTROL The Input Gain Control of the R6M Mixer utilizes a unique configuration so that input attenuation and gain adjustment occur simultaneously This arrange ment allows the vital input circuitry to handle almost any input voltage from low level mics to speaker levels The function and operational requirements of this input gain stage are conventional and should present no operational difficulty HIGH FREQUENCY EQUALIZATION CONTROL The High Frequency Control is capable of 15 dB boost or cut at 8 KHz with a shelving characteristic sloping down to the crossover point High frequency boost is obtained with a clockwise rotation of this control and counterclockwise rotation results in a cutting of the high frequencies Flat response is obtained in the center 12 00 o clock position This flat 12 00 o clock position is an excellent place to begin tuning the system so that with different rooms and concert halls you will be able to determine what degree equalization is needed or not then you may adjust accordingly MID FREQUENCY EQUALIZATION CONTROL The Mid Control is capable of 15 dB boost or cut at 600 Hz with a peak notch type of filter response This middle EQ circuit enables control over the vital mid range frequencies The action of this middle filter is somewhat different than the high and low EQ since it is of t
7. Level 0 33V 1V RMS MASTER amp CHANNEL SENDS UNBALANCED OUTPUTS Load Impedance 600 ohms or greater Nominal Output 0 JBV 1V RMS Maximum Output 18 GBV BV RMS into 50K ohm load 18 dBm 6V RMS into 800 ohm load SAMPLE UNBALANCED OUTPUTS Load Impedance 10K ohms or greater Nominal Output 0 dBV 1V AMS Maximum Output 18 BV BV RMS into 10K ohm load HEADPHONES Mono Amp with Stereo Jac Load Impedance 4 ohms to 50 ohms Maximum Output Power 100 mW THE FOLLOWING SPECS ARE MEASURED WITH A NOMINAL INPUT GAIN SETTING OF 20 dB ALL CHANNELS ALL CHANNEL MATRIX CONTROLS AND ALL MASTER MATRIX CONTROLS ARE SET AT 0 dB ALL EQ SET FLAT ALL LOW CUT FILTERS SET AT 20 Hz ALL LOW Z INPUTS TERMINATED WITH 600 OHMS ALL HIGH Z INPUTS AND ALL OUTPUTS TERMINATED WITH 47K OHMS FREQUENCY RESPONSE Any In Out Combination with 1V RMS Output 0 2 dB 20 Hz to 30 kHz SYSTEM HUM NOISE All Channels On 80 ABV Low Z mic inputs EQUIVALENT INPUT NOISE 20 Hz 20 kHz 150 ohms 128dBV OVERALL DISTORTION Any In Out Combination 20 Hz 20kHz at 1V RMS Less than 05 THD typically below 01 EQUALIZATION 7 16 dB at 60 Hz and 8 kHz shelving 15 dB at 600 Hz peak notch LOW CUT FILTERS 12 dB octave slope 20 Hz to 500 Hz CROSSTALK Greater than 60 dB at 1 kHz MAXIMUM AVAILABLE GAIN 14 dB Master Control 6 dB Channel Matrix Control 40 dB Input Control 60 dB total
8. d Diagram C For recording applications the sampling speaker will be control room monitor CHANNEL INPUTS 7 L7 OUT IN JACK 1 The Out In Jack on each channelisstereo 4 phone and allows individual channel patching immediately after the Input Gain Control and before the equalization The first 2 position click of this jack when used with a mono phone plug will allow a separate output from each individual outa channel whenever a signal such as this is needed for any reason The audio chain is not interrupted when an output a Low z we Neu is merely taken from each individual channel However e when a stereo plug is used and the jack is fully engaged second click this input becomes a send on the tip and a retum on the ring for channel conditioning Limiters 4 equalizers noise gates etc may be patched in line with 9 the individual channels through the Out In stereo jack OUTPUTS AUX IN sacwc our TIN BALANCIED DU SACS an S Each channel of the R6M is equipped with a Low Z MASTER 6 balanced splitter system for the interconnection of microphones or instruments between the house main Soo wer mixer and the R amp M The splitter system allows mics to go directly to the monitor mixer and then be patched directly to the Low Z Input connectors of the house mixer through the main snake cable system See Diagram A DIAGRAM A
9. for each separate monitor mix and is controlled by the master mix level control SOLO PATCH The Solo Patch is a stereo 1 4 jack and is designed to interconnect the electronic logic of the solo feature when tco monitor mixers are patched together and the solo function is desirable on both units When two consoles are used for additional channels in a monitor situation the logic and signal should be connected so that listening capability is possible for both consoles through the solo feature for each monitor mix NOTE A TWO CONDUCTOR SHIELDED CORD FITTED WITH STEREO PLUGS RING TIP AND SHEEVE MUST BE USED TO ACCOMPLISH THIS PATCH SAMPLE OUTPUT JACK The Sample Output Jack is a 1 4 phone jack and provides a signal from the sample level on the front panel and should be used for the monitor mix engineer to sample the different mixes that are occurring on stage This creates a separate system which is usually located near the monitor mix console and should include the same basic type of amplifier and speaker system that is employed on stage so that the mix engineer will know exactly how the monitors sound on stage The patch hookup for this system would be from the Sample Output Jack to the amp speaker system that is used for the sampling source NOTE For most high level monitor applications a separate sampling speaker amplifier system is much more effective than tryingto doa monitor mix through headphones See explanation of Sample Level Control an
10. frequency which is selected by a rotation of the aumur LEVEL moion OV AEE EE neos control knob The range of frequency selection is 20 i Hz to 500 Hz The low cut feature is a very useful E device for matching the output signal with the pam Sum capabilities of the power amp speaker system for a Sins CA particular mix Low frequencies which the speaker lt a system will not reproduce efficiently may be cut 0d 3 rolled off at 12 dB per octave thus eliminating the aan SE muddiness often encountered with monitor systems Poo ai we Monitor speaker systems in general are not required to e Re GE reproduce as much low end as the out front main 7 i 7 house system Many monitor speaker systems are mocaten secr L macaron secr incapable of reproducing frequencies much below 100 E aie Hz and the durability and projection of these systems i i is greatly increased when those devices are not driven Ws Ws with frequencies below their cut off capabilities CUM Hd o co M Qo Q SOLO FUNCTION b WU wd WI The Solo Fun a push push type and m allows the operator to select any or all master mixes ioter toweur tower his headphone or sample output The Solo Function is E E suo sao the final signal output of each master mix affer the m E aT master level control In order to monitor a master A A A A output with this feature the sample level or H P level 4 E E ES control in
11. he peaking and notching type This type 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 mid range Experience has proven that for most applications a very slight mid range cut tends to produce a tight and well defined sound Generally large amounts of mid range boost are extremely unpleasant and will probably never be used except for special effects or to correct extremely marginal microphones or unusual voice timbres Monitor systems tend to get very muddy and lose a certain amount of presence when excessive amounts of mid range is used LOW FREQUENCY CONTROL This control is capable of 15 dB boost or cut at 60 Hz and demonstrates a shelving characteristic so that excessive lows are not boosted below the usable range of sound reinforcement speaker systems The shelving action of this circuit has proven to yield much more satisfying and effective equalization characteristics than some of the the vide open EQ circuits claiming 20 to 25 dB boost and cut Care should be taken with the Low Frequency Control to not overboost lows on any particular instrument or vocal due to the fact that tremendous amounts of power amp headroom will be used up and a general muddiness will be apparent in the monitor system Woofers may also be blown much more easily with excessive low frequency boost MATRIX LEVEL CONTROLS There
12. or recording unless additional channels are Berded rmon usna rp mee ees TYPICAL CHANNEL 6 REM RECORDING RACK MOUNT MIXER SPECS SUMMARY OF FUNCTIONS 6 channels in 4 mixes out 1 sample out bridging male and female XLR balanced input cutputs with ground isolation pre send and return each channel t unbalanced auxiliary and 1 unbalanced output for each mix mono headphone output for solo listening input gain attenuation S band EQ and 4 matrix sands each channel solo variable low cut master slider LED ladder and auxiliary input level each master mix INPUTS EACH CHANNEL 1 Low Z balanced microphone 1 High Z unbalanced stereo ring pre return INPUTS MASTER 1 High Z unbalanced auxiliary for each of 4 mixes t unbalanced solo patch OUTPUTS EACH CHANNEI 7 Low Z unbalanced stereo jack tip pre send OUTPUTS MASTER 7 Low Z unbalanced line for each of 4 mixes 1 unbalanced sample out 1 headphone out BRIDGING CHANNEL MICROPHONE INPUTS OUTPUTS Replaces conven tional splitter box ic Impecance Designed far 600 ohm or lower mics balanced system with ground isolation Nominal Input Level 26 dBm 40 mv RMS Minimum Input Level 42 dBm 6 mV RMS Maximum Input Level 20 dBm BV RMS CHANNEL PRE RETURN INPUTS Line Impedance High Z 47K ohms unbalanced Designed Input Level 0 dBV 1V AMS MASTER AUXILIARY INPUTS Line Impedance High Z 33K ohms unbalanced Nominal Input
13. ple output on the rear panel Some monitor situations may only call for headphone sampling at the monitor mix beardand in that case the sample output will not necessarily be used In most cases however for high level operation the separate sampling speaker is much more effective than typical headphones The main advantage is that the monitor mix engineer is able to listen under similar conditions through the same type speaker as the performers on stage NOTE For sample output to become operational solo switches and sample level must be pre set Sample output system may be used to monitorany orall four tracks during recording situations See diagrams C amp D HEADPHONE LEVEL The Headphone Level is a gain regulating device which determines the listening level in the headphones for the solo system The related jack for the headphones is immediately to the right of the Headphone Level Control and will accept most typical headphone units with no problem When monitoring the sample system through stereo headphones the signal appears monaurally in both earpieces LOW CUT CONTROL Each of the four respective masters include a Low Cut Control which tailors the low frequency response of all instruments or vocals assigned to that REMI 6 x a yz y le A particular mix The purpose of this control is a roll SECCHDING MONTTERT off function of 12 dB per octave beginning at the RACK MOUNT MIXER
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