Peavey Standard PA User's Manual

Peavey Standard PA User's Manual
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Output Power @ 1 kHz @ 117 VAC Line:
1. Rated Power: 130 W RMS @ Rated Load: 4 Ohms
2, Power vs, Load
QUTPUT @ 1% THD 90 140 80 VW
IM Distortion: Less than 0.3 % from 0.5 Watt to 100 Watts, typically 0.1 %
THD: Less than 0.1 % from 0.5 Watt to 100 watts from 20 Hz — 10 kHz, typically .05 %
Frequency Response: +1 dB, 20 Hz — 20 kHz @ 1 W, 4 Ohms
Sensitivity @ Rated Power & Load: 700 mV
Input Impedance: 15 k Ohms
Input Characteristics: (Tone Controls Flat, Volume @ Maximum, Master @ 12:00]
1. Sensitivity: 4 mV 6 1 kHz
2. Input Impedance: 100 k Ohms Unbalanced
3. Noise: 56 dB (Open Circuit), 60 dB (50 k Ohms), 66 dB (Short Circuit]
Distortion @ 1 kHz @ Rated Output: Less than 0.1 % THD
Frequency Response: 3 dB Down @ 40 Hz & 20 kHz
Tone Contrals: £15 dB @ 50 Hz and § kHz
Effects Send Control: Continuously variable each channel
Tone Controls: £15 dB @ 50 Hz, 800 Hz, 10 kHz
Reverb Return Control: Continously variable with footswitch cut-off
Main Output Level: 2.0 V BMS into 10 k Ohms
Effect Output Level: Effects High, 1.0 V RMS into 10 k Ohms;
Effects Low, 0.25 Y AMS into 10 k Ohms
Your Standard PA Mixer/Amplifier is the
result of our constant research program and
the features designed into this unit are those
found necessary in our previous experience
with actual “on the job” requirements. Every
necessary feature is included’ on this unit and
no non-functional switches and controls have
been added. The Standard PA is a professional
mixer/amplifier capable of handling most
medium sized areas with power to spare, with
adequate facilities to control tonality and
feedback with a minimum of effort. The 130
Watt R.M.S. power amplifier is powerful
enough to drive most speaker systems and 15
constructed for extremely heavy duty opera-
tion using four output transistors instead of
the more common pair of outputs. Because
we have added more ruggedness to the output
stage, the flexibility of the amplifier is greatly
increased by providing a wider range of load
impedances which can be used with no ill
effect on the amp. The input stages of the
unit have separate low and high EQ controls
for better tone control, as well as a control
for continuously varying the amount of
reverb. This variable control Is much better
than the common on/off switch since it
allows incremental reverb/effects mixing
instead of on or off switches. Master controls
have been included to facilitate tonal and
volume balance of the overall sound of your
PA system. Field experience has shown that
these master controls are absolutely necessary
in producing a balanced professional sound.
The master section of your Standard PA
contains complete three-band master equall-
zation, as well as adequate input and output
facilities to allow use of the Standard PA with
a wide range of auxiliary equipment.
The gain control serves to vary the gain
of the preamp. The preamps of the new
standard are ot the variable feedback type
which allows lowest noise and maximum
The effects send control enables the
operator to determine the amount of signal
from the respective channels mixed into the
effects/reverb mixing buss, These controls
determine the overall mix as well as the
output levels delivered to the effects outputs
as well as to the reverb drive amplifier.
The low equalization control deter-
mines the low frequency response of the
individual channel. The Standard low control
is a type of electronic crossover which acts as
a volume control for the low frequencies.
Because of the design of this control, it is
possible to obtain both low boost and cut.
The vertical position (0) will vield a flat
response, Clockwise operation results in a
boost and counter-clockwise operation results
in a cut.
The high equalization control deter-
mines the high frequency response of the
individual channel. The high control is part
of an electronic crossover and functions as a
volume control for the high frequencies. The
vertical position (0) yields flat response, while
clockwise settings boost highs and counter-
clockwise settings yield a high cut.
Each channel of the Standard PA is
equipped with two inputs jacks which are
connected in a unique circuit that allows a
wide range of inputs to be handled. When
only one microphone is used, the “A” input
jack is more sensitive than the “B” input jack.
This high and low gain feature enables
optimum microphone matching. If a high
output microphone is overloading the sensi-
tive "A" Input, simply reconnect this mike
into the low gain "B” jack. When two inputs
are used in each channel, the input circuit
automatically balances to equalize the gain
in both A and B jacks. This simple, but ef
fective, switching system gives the user much
greater flexibility in choice of input sensi:
tivities and overload protection,
Field experience has proven that a profes
sional PA Mixer/Amplifier must be equipped
with a full set of master controls. The Gain
and Equalization controls on the individual
channels enable the operator to get a reason-
able mix, the master controls allow a much
easier overall balance.
The Standard PA features three-band
master equalization as well as an auxiliary
input for patching in echo/effects units or an
additional mic input. Output facilities are pro-
vided from the main output buss, as well
as both high and low level outputs from the
effects buss,
The master low control is part of an
electronic crossover and acts as an overall
level control for all bass frequencies. The
action of this control is similar to the low
controls on the individual channels.
The master middle control seems to
give best results in the flat or cut pasition (+0
to - 15) for most applications. The effect of
operating the middle control in the cut
position is to give the extremes of bass and
treble a boost relative to the mid-range fre-
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quencies. Operation in this mode yields a
very crisp and articulate sounding system.
The master high equalization control
determines the overall level of the treble
frequencies, and its operation is similar to
the indivdual channel high controls.
The effects return control determines
the gain of the additional channel provided in
the Standard PA to facilitate use of an ad-
ditional microphone or external echo/effects
unit. This control operates in conjunction
with the effects input jack and feeds the
main mix buss. This effects return feature
may be considered as an additional un-
equalized input channel.
The effects input jack is the input to
the effects channel and operates in conjunc-
tion with the effects return level control.
The master volume control controls the
gain of the master mixer by use of variable
negative feedback. The use of active mixing
allows your Standard PA Mixer/Amplifier to
perform as well as many studio mixing con-
soles. This method is the same used on the
latest recording mixers and yields the lowest
distortion and noise of any other method.
The master volume sets the level for the
entire system and is set apart from the other
controls by the size of its control knob. The
master volume should be set approximately
in the middle position (4-6), and fine adjust-
ment in volume should be made with the
individual controls on each channel.
The auxiliary input provides an ad-
ditional line level { 1.0 Y R.M.S. @ 10 k
Ohms) input to the main mixing buss to
enable other mixers or auxiliary equipment to
be patched into the main mix buss.
The reverb footswitch jack provides a
method for reverb cut off by use of the op-
tional remote footswitch. Any footswitch
with the proper plug (standard phone plug)
and a shielded cable will work with this jack.
The reverb return control determines
the amount of delayed signal from the
internal reverb unit that is mixed back into
the main mixing buss. Keep in mind that
channel effect controls must be mixing sound
signal into the effects/reverb buss for the
reverb circuit to function. If it should be de-
sirable to disable the reverb circuit in order to
use the effects buss for other (monitor, echo,
etc.), the reverb may be elimated by use of
the footswitch, or by turning the reverb
return control fully counter-clockwise.
The main output is the jack provided to
deliver signal from the main mixing amplifier
to other mixers, power amplifiers, tape
recorders, etc. This output is capable of 2.0 V
RMS. @ 5 k Ohms output impedance.
The effects high level output is the out-
put from the effects mix buss for driving
external devices that require 1.5 V R.M.S. O
10 k Ohms.
The effects low level output is the
divided down signal derived from the effects
mixing amp and is designed to supply mic
level signals to auxiliary echo/effects units,
etc. The effects low level output is approxi-
mately 0.10 V R.M.S. @ 50 k Ohms.
The pilot light indicates when power is
applied to the amplifier.
The fuse is located within the cap of
the fuse holder and should be replaced with
one of the proper value if it should fail. It is
necessary that the proper value fuse be used
to avoid damage to the eguipment and to
avoid voiding the warranty. Models that have
circuit breakers can be reset by depressing the
red button. If the breaker trips repeatedly,
take the unit to a gualified service center for
The line power switch is of the three
position type with the center position being
off. The three position switch has two on
positions which are used to ground the ampli-
fier properly. One of the on positions will
yield the least hum or popping when the
microphone is touched and this is the position
that should be used.
The large line cord retainers on the rear
panel are provided for your convenience in
storing the AC line cord during transport of
the unit.
The three wire line cord has been
provided for your protection and should be
connected to the proper line voltage as indi-
cated on the back panel. DO NOT REMOVE
Printed in US A
Part No. 80361027
The speaker output jacks are designed
to be used with a total load of FOUR OHMS.
Speaker systems of higher impedance can be
used with a slight loss in output power.
Speaker systems with less than a total of
Four Ohms can be used with the risk of
overloading the power amplifier. Slightly less
power will be delivered to lower impedances
because of the unique limiting action of our
integral protection system. The power ampli-
fier is built on a large aluminum heatsink to
cool the output devices. A thermostat is
connected to this heatsink to shut the system
down in case of overheating. Low speaker
impedances tend to cause the amp to run
hotter than normal, and could cause the
automatic cutoff to operate if the output
stage becomes hot enough to endanger the
output devices. The thermostat is self-
resetting and normal operation will be
restored when the unit reaches safe operating
temperatures. If thermal shutdown is ap-
parent, then you are overloading the system
and continued use in this manner will damage
the system. Never use less than a FOUR OHM
total load on the 260 module. The output
voltage available from this unit is approxi-
mately 23 Y R.M.S. into 4 Ohms with proper
line input.
To avoid damage to your eguipment or
electrical shock when using your Standard PA
with other consoles or effects units, all signal
connections should be completed with
shielded cable before power (mains) con-
nection is made. The three wire power
receptacles should be used if possible.
711 A Street, Meridian, Mississippi 39301 (601) 483-5365
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