Peavey XR 2012 Owner Manual

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— Table of Contents
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Safety Instructions . ........... a A a ee 21
XR® 2012 Powered Sound Reinforcement Mixing Console
General Description:
Congratulations on your purchase of the XR® 2012, the finest example of state-of-the-art powered mixing
consoles. In one compact package, we have included the feature set of 12 low noise discrete microphone
preamps, 4 stereo input channels, a stereo equalizer/automatic feedback finder, digital effects processor, 600
watt per channel stereo power amp, and world-famous Peavey ruggedness and reliability. You can feel confi-
dent that the XR 2012 powered console will meet your PA needs for many years to come.
To take advantage of the XR 2012's powerful features, please read this owner’s manual carefully and keep it
handy as a reference. This owner's manual includes several sections detailing individual areas of mixer
operation, including: control functions, set-up, and applications in sound reinforcement.
The standard channels feature discrete low noise mic preamps with globally switched phantom power, low cut
filters, and three-band EQs with a semi-parametric mid control. There are 4 auxiliary sends (two dedicated
pre-EQ for monitor sends, 2 post-EQ/post-fader effect sends), mute, and PFL switches. The PFL logic auto-
matically shifts the main Right meter to the PFL signal when any PFL button is pressed to assist in input gain
adjustment, and operates even when the channel is muted. The mute circuitry squelches the L&R bus and
effects sends.
“Super” mic channels 7 and 8 also have pad and phase reverse switches for those applications that require it,
as well as the standard channel functions. There are no line inputs on these channels. |
In addition to the four mic channels, there are four combination mono mic/line-level stereo channels for tape,
CD, or synth inputs. Each of these four channels has all the standard channel functions including a separate
discrete low noise mic preamp. These channels feature a separate control for the mic input and line-level
stereo inputs allowing them to be used simultaneously and indepently. Also, the stereo line inputs on these
channels can be selected to go through the channel to the L/R bus, or bypass the channel and feed directly
to the L/R bus without EQ. The monitor sends on these channels are fed simultaneously by stereo line inputs
and mic inputs. These four stereo line input channels can also double as fully equalized stereo effects returns
with PFL and mute, with sends to the main L/R mix and the Mon 1 and 2 mixes as well as the Aux 1 and
Digital Effects buses.
The Master section features a unique graphic equalizer/power amp mode switch, whereby the user can select
to use the XR 2012 as a full stereo mixer amplifier (default), or a dual mono with one graphics and amplifier
used for Monitor 1 and the other graphics and amplifier receiving a L & R (mono) signal, without patching the
signal to each graphic equalizer and amplifier separately.
We have incorporated 16 digital effects into a processor that is included in the master section as the on-board
digital signal processor. By including a separate time and damping/feedback control, the user can create
many effect settings from the 16 we provided. All channels have a dedicated digital effects send routed
directly to the DSP effects processor. All summing buses are designed for low noise operation.
The Left & Right graphics outputs each have LED meters. They are calibrated for a 0 dB reading at a 0 dBV
output level. A balanced mono output (derived from the post fader Left and Right outputs) has its own level
control. Each channel, master Mon 1, Mon 2, Aux and Effects send has an overload LED indicator that
illuminates when the signal level is within 2 dB of clipping or when the PFL switch is activated. Electronic
muting of the Monitor 1 & 2, Aux and Effects and the Left and Right outputs greatly reduces any turn on
and turn off transients.
A lamp connector is provided for Peavey ML-2 or ML-3 flexible lamps to illuminate the console in dark
environments.
CHANNEL INPUTS SECTION:
1. 1/4" INPUTS: Channels 1-4 have high impedance 1/4" (TRS) mic inputs for use with sources
such as high-impedance microphones and/or guitars. This input is wired in parallel with the
mic input which is switched out of circuit when the 1/4" Hi-Z input is used. Channels 5 and 6
have balanced 1/4" (TRS) line-level inputs wired through a 20 dB pad to the MIC input for line
level signals. The tip is the positive input as is pin 2 of the MIC input. As with Channel 1-4,
Channels 5 and 6 do not allow for the simultaneous use of the line input (1/4") and MIC (XLR)
input.
2. MIC INPUT: XLR balanced low-impedance channel input optimized for a microphone or other
low-level source. Pin 2 is the positive input. Because of the wide range of gain adjustment, signal
levels as high as +10 dBV (2.45 V RMS) can be accommodated. When the phantom power is
enabled, this connector has +40V on pins 2 and 3 (pin 1 is ground reference).
@ PAD: Attenuates the input signal by 20 dB. This will increase the dynamic range to
accommodate a higher input level before clipping, which may be necessary when close miking
loud guitar amplifiers or drum kits.
4. POLARITY: Reverses the phase of the input signal. This will compensate for an out-of-phase
input that would otherwise cause frequency cancellations in the mix. (Often needed for drum
mics where both sides of the drum head are picked up in multiple mic situations.)
5. LEFT/MONO INPUT: High-impedance input for line-level signals. The left/mono input supplies
signal to both the left and right inputs (if there is nothing inserted to the right input jack) then
through the line-level control, then to the direct/EQ switch.
6. RIGHT INPUT: High-impedance input for line-level signals. The right input supplies signal to the
right input, then through the line-level control, then to the direct/EQ switch.
7. PHANTOM POWER SWITCH: Applies 40 VDC voltage to all input XLR connectors to power
microphones that require it.
CAUTION! When phantom power is switched on, make sure that any channel you are plugging a
mic into is muted, and all Monitor, Auxes, are at minimum. Otherwise there will be a loud pop in
the PA. This is normal. It is best to plug all mics into their respective channels with the phantom
power switched off. This reduces noise in the PA and reduces the chances of the mic being
damaged.
A phantom power is used, do not connect unbalanced dynamic microphones or other
devices that cannot handle this voltage to the XLR inputs. (Some wireless receivers may be
damaged; consult their manuals.) The line input jacks (# 1) are not connected to the phantom
supply, and are safe for all inputs (balanced or unbalanced). An unbalanced-to-balanced
impedance converter such as the Peavey 5116, or a Peavey 1:1 Interface Adapter can also be
used to isolate a mic from phantom voltage.
CHANNEL SECTION:
1.
3.
INSERT: 1/4" stereo (TRS) jack allows an external device to be inserted into
the signal path before the EQ. The tip has the send signal; the ring is the retw
input. À switch in the jack normally connects the send to the return until a plug
Is inserted. The Cal 32/Y cable (available from Peavey, #5299) can be used in
the insert jack to patch into and out of effects devices. It is a “Y” cable adapter.
MIC GAIN: Varies the input gain to allow for a wide dynamic range. Proper
adjustment of the input gain will maximize the signal-to-noise ratio. It should be
set by depressing the PFL switch (+ 14) and adjusting for a 0 dB (+0 dBV) level
at the Right meter.
LOW CUT: This is a low cut filter with a corner frequency of 75 Hz used to filter
out rumble, wind noise, breath thumps, stage noise, and other low-frequency
components that rob power from the amplifiers and muddy the signal. The
pre-EQ signal sent to the Mon 1 and 2 sends are picked up after this switch so
that the monitors can also benefit from this filter.
HI EQ: A shelving type of active tone control that varies the treble frequency
levels +/-15 dB at 12 kHz. It is designed to remove noise or to add brilliance to
the signal, depending on the quality of the source.
MID EQ: Mid +/-15 dB. This control sets the amount of cut and boost at the
mid-frequency selected.
. MID-FREQUENCY: A semi-parametric sweepable (frequency select from
100 Hz to 3 kHz) type of active tone control that varies the mid-range |
frequency selected. These frequencies are optimum for bringing out the clarity
of a vocal mic without adding harshness or grit, and can reduce feedback at
mid to low frequencies. A slight cut within these frequencies can help a mic that
has proximity effect to become more intelligible in close talking situations. It will
also be useful to solve common feedback problems.
LOW EQ: A shelving type of active tone control that varies the bass
frequency levels +/-15 dB at 70 Hz. It will add depth to thin signals, or clean
up muddy ones. |
MON 1 & 2: Adjusts the level of the channel signal (pre-EQ) that is added to
the corresponding Monitor mix. These are designed to be used for monitor
sends with Mono signals.
AUX 1: Adjusts the level of the channel signal that is added to the
corresponding Aux mix. These are post-fader on all channels, and are
configured in mono on all channels. They can be used to drive effects units.
10.DIGITAL EFFECTS: This control varies the level into the digital effects
processor bus. This control will adjust the signal level from this particular
channel to the digital processor. The signal is heard in the mix that the effects
return is assigned to.
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FEISS LS
PAN: Determines whether that channel will be heard in the Left, Right, or both
channels in the main mix (stereo). In Mon1/Mono Equalizer/Amplifier switch
setting (#10), the pan will control the submix of Left and Right as they are mixed
into a single signal into the Left graphic/amplifier.
MUTE: Mutes the channel (L & R bus, Effects and Aux sends). The PFL
signal and monitor signals are not affected, and can be used to adjust the
channel's level while muted in the main L & R.
PFL/CLIP LED: A dual function LED that illuminates when the signal level is
nearing the overload point, or if the PFL switch is engaged. This circuit monitors
the input gain, EQ, and post-fader stages for overload. It illuminates at +16 dBV
and signals that gain or EQ boost should be reduced. (There is roughly 2 dB of
headroom remaining when it lights.) When the PFL switch (# 14) is depressed, it
lights continuously to indicate that this channel has been assigned to the PFL
mix.
PFL: Connects the channel's pre-fader signal to the PFL mix and switches the
headphone/control room source from the L&R mix to the PFL mix. It also
connects the PFL signal to the Right LED meter to aid in setting the input
gain (# 2). When this switch is pressed, the PFL/CLIP LEDs (# 13) will illuminate
to identify the PFL sources.
CHANNEL FADER: Channel output level control. Sets the level sent to the
L & R bus. The optimum setting for this control is the “0” (unity gain) position.
BALANCE: Adjusts the balance of the stereo signal that is sent to the L & R
bus. Functions as a pan control for mono signals from the Mic inputs on the
stereo line channels.
LOW EQ: A shelving type of active tone control that varies the bass frequency
levels +/-15 dB at 70 Hz. It will add depth to thin signals, or clean up muddy
ones. |
MID FREQUENCY: A bandpass (peak/notch) type of active tone control that
cuts or boosts the mid-range frequencies +/-15 dB at 1 kHz.
HI EQ: A shelving type of active tone control that varies the treble frequency
levels +/-15 dB at 12 kHz. It is designed to remove noise or to add brilliance to the signal,
depending on the quality of the source.
EQ IN/OUT: This switch routes the stereo line-level inputs either through the channel or to the
L & R bus only, bypassing the channel EQ and the Aux 1 & Digital Effects bus. The Stereo line-
level signal is always present in the Mon 1 & 2.
LINE LEVEL: Varies the gain of the stereo input to optimize the signal-to-noise ratio. The
adjustment range is off to +15 dB. Proper adjustment will maximize the signal-to-noise ratio,
and can be set using the PFL switch (see # 14). |
MASTER SECTION
1. TAPE IN: This stereo RCA phono jack accepts a stereo input (nominally -10 dBV) from the
output of a tape deck or CD player. CAUTION: When recording, feedback can occur if the
Play/Record switch (# 7) is not switched to the Record mode.
2. TAPE OUT: This stereo RCA phono jack provides a signal for the recording inputs of a
stereo tape deck, with an amplitude set by the tape output level control (# 5).
3. LAMP CONNECTOR: An XLR connector is provided for low voltage lamps (such as the
Peavey ML-2 or ML-3) to illuminate the console in poorly lit environments. The connector
supplies 12 VDC at 200 ma between pins 1 and 2. The total maximum load should not
exceed 200 ma. This connector is short circuit protected, with automatic reset when a short
IS removed.
4. TAPE INPUT LEVEL: Adjusts the level of the tape signal supplied to the L-R mix.
TAPE OUT LEVEL: Sets the level of the main left and right stereo signal sent to the tape
output jack. It is post master fader.
FLS®: (Feedback Locator System) These LEDs illuminate to indicate the frequency band of
highest energy, which will indicate not only the feedback frequency, but automatically indi-
cate the graphics slider to use to decrease that frequency band’s gain to lessen or eliminate
feedback. (NOTE: These LEDs illuminate with any audio signal, not just during feedback.)
PLAY/RECORD SWITCH: This switch mutes the signal to the tape out jack. If you are using the
same tape deck for record and playback, you should depress this switch to prevent feedback
when recording. If you are using 2 tape decks, then you don’t have to press in this switch
because then the record tape deck’s outputs are not connected to the mixer and there is no
path for positive feedback.
GRAPHIC EQUALIZERS: These 9-band equalizers are fixed on 1 octave centers. They are
designed for 15 dB of cut, and 12 dB boost. They are connected directly to their power amplifier
inputs. NOTE: If the user wishes to insert an outboard equalizer in the signal path, there are
graphics/power amp insert jacks on the rear panel of the mixer (#7) for connecting another
output to the power amplifier. In this case the user will simply position the XR 2012 s graphic
sliders in the “0” position to bypass them. :
TAPE TO MONITOR SENDS: Adds a mono sum of the tape signal to the Mon 1 or Mon 2
mixes. These are used to send the tape signal to monitors for soundtrack monitoring, or for
singers to use while singing by pre-recorded song tracks.
10. SYSTEM MODE: This switch is used to configure the XR 2012 as either a stereo or dual mono
11.
amplifier. The XR 2012 is shipped from the factory in the default setting of Left Main to the upper
EQ and Right to the lower EQ. When this switch is depressed, (it is recessed to prevent
accidental switching during a performance), it switches the upper EQ to (mono) PA Left +
Right, which is still controlled by the Left and Right sliders, creating the ability to have two
submixes. Some channels could be panned left for vocals only, and some channels could be
panned right, for instruments only, for independent control of vocals and instruments globally,
allowing for more versatility. The lower EQ then becomes the Monitor 1 signal only, creating an
entire PA and monitor mixing system in one small, easy-to-carry package. And this change is
accomplished without a single patch cord!
LED METERS: Two 12-segment LED arrays monitor the levels of the main L-R outputs. The
O dB reference level corresponds to 0 dBV. Also, when the LED meters are at “0 dBV” this
indicates that the power amplifiers are at full power (600 Watts per channel @ 2 ohms, or
400 Watts at 4 ohms). When the Mode switch is depressed, the LED meters switch to (L + R)
Mono on the left array, and Monitor 1 on the right array. The Right meter array is also used for
PFL metering. When any PFL is selected, the Left array is defeated and the Right array then
becomes the PFL level only.
12. AUX MASTER LEVEL: Aux 1 mix output level control. Sets the Aux 1 level sent to the output
jack (# 5). The optimum setting for this control is “5” (unity gain) position.
13. AUX PFL/CLIP LED: liluminates when the Aux PFL switch (#14) is depressed to indicate that
this signal has been assigned to the PFL mix. Also will illuminate to indicate 2 dB of headroom
left before clipping.
14. EFFECTS PFL: Connects the pre master fader Aux signal to the PFL mix and switches the
headphone source from the L-R mix to the PFL mix. It also connects the Aux PFL mix signal to
the Right meter.
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15. EFFECTS PFL/PEAK LED: llluminates when the Effects PFL switch (# 16) is depressed to
indicate that this signal has been assigned to the PFL mix. Also will illuminate to indicate 6 dB
of headroom left before clipping in the Digital Effects Processor.
NOTE: This PFL/PEAK LED is different than all the others on the mixer, because it is set to light at 6 dB below
clipping the digital processor. It can flash occasionally, but not stay on steadily. This control should be set to
illuminate the peak LED occasionally before setting the level of the Effects Return control.
16. EFFECTS PFL: Connects the digital effects processor output signal (pre-effects mute) to the
| PEL mix and switches the headphone source from the L-R mix to the PFL mix. It also connects
the PFL mix signal to the Right meter.
17. EFFECTS MUTE: Mutes the Effects signal from the digital effects processor to the L-R and
Send to Monitor 1 & 2 if enabled. It does not affect the PFL signal, which can be used to check
the digital effects mix and level (through the headphones) when the digital effects output to the
“Mains or Monitors is muted.
18. EFFECTS PRESET: This control chooses the preset that is listed in the Preset Effects Table.
There are 8 reverbs, 4 delays, and 4 effects. When a new effect is selected, it causes the
PFL/CLIP LED to blink to indicate the effect is loaded. SEE EFFECTS PROCESSOR
PRESETS.
PRESET NAME PARAMETER 1 PARAMETER 2
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Chamber Time: 150 to 5,000 ms Damping: (High Frequency)
Plate Time: 100 to 4,000 ms Damping: (High Frequency)
Room Time: 150 to 5,000 ms Damping: (High Frequency)
Cathedral Time: 100 to 8,000 ms Damping: (High Frequency)
Spring Time: 150 to 5,000 ms Damping: (High Frequency)
Gate Time: 150 to 500 ms Damping: (High Frequency)
Reverse Time: 150 to 500 ms Damping: (High Frequency)
Delay + Reverb Time: 0 to 225 ms Reverb Time: 0 to 5,000 ms
Bright Delay Time: 0 to 500 ms Feedback: O to 99%
Warm Delay Time: O to 500 ms Feedback: O to 99%
Dark Delay Time: 0 to 500 ms Feedback: O to 99%
Ping Pong Delay Time: O to 500 ms Feedback: O to 99%
Chorus Rate: 0.125 to 8 Hz Depth: Best Set Full CW
~ Phaser Rate: 0.250 to 16 Hz Depth: Best Set Full CW
Flange Rate: 0.10 to 2.5 Hz Depth: Best Set Full CW
Rotary Speaker High Speed: 0.50 to 25 Hz Width: O to 100% CW
TIME/RATE: In Reverb & Delay presets, it adjusts the time of the particular reverb or delay; in
Chorus, Phaser, and Flange, it adjusts the rate of each. In Rotary Speaker setting, this adjusts
the speed of the speaker rotation.
EFFECTS MASTER SEND: Effects mix output level control. Sets the Effects level sent to the
Parametric Digital Effects Processor. The digital effects processor has an automatic level
control in its input signal path, which helps prevent accidental overdriving of the digital
- processor; however, it is not a substitute for proper set-up of the levels into and out of
the processor.
EFFECTS MASTER RETURN LEVEL: Effects return output level control. Sets the Digital
Effects output level sent to the Left and Right mixing bus.
22-23. SEND TO MONITOR 1 & 2: These controls are used to send the digital effects signal into
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the Monitor 1 or Monitor 2 mix, so the performers can hear the digital effects in their monitor
speaker mix. |
DAMPING/FEEDBACK: In Reverb setting, this control adjusts the high-frequency content of the
reverberated audio. It varies from allowing only 200 Hz and below at minimum, up to 14 kHz at
the maximum clockwise adjustment. In Delay it adjusts the feedback only, in Chorus and Flange
it adjusts Depth, and in the Rotary Speaker mode, it adjusts Width.
MONITOR 1 & 2 PFL/CLIP: A dual function LED that illuminates when the signal level is
nearing the overload point, or if the PFL switch is engaged. It illuminates at +16 dBV. (There is
roughly 2 dB of headroom remaining when it lights.) When the PFL switch (#26) is depressed, it
lights continuously to indicate that this Mon has been assigned to the PFL mix.
MONITOR 1 & 2 PFL: Connects the selected Monitor signal (pre-master level) to the PFL mix
and switches the headphone/control room source from the L-R mix to the PFL mix. It also
connects the PFL signal to the Right meter to aid in monitoring the output level.
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MONITOR 1 & 2 MASTER LEVEL: Sets the overall level of the Monitor 1 & 2 signal that is
sent to the output jacks (# 2). It is best set at “0” unity gain.
MASTER LEFT/RIGHT: Separate faders that set the level of the left/right mix. The output level
is monitored by the left and right meters AFTER the graphic equalizers. The optimum setting fo#
this control is the “0” (unity gain) position.
MONO LEVEL: Adjusts the level of the mono mix output (# 3). The signal is a post-fader sum
of the left and right output signals. The “0” position is the unity gain setting; 10 dB of gain boost
Is available.
HEADPHONE LEVEL: Adjusts the volume of the headphone outputs. The output changes from
the L-R mix (post-fader) to the PFL mix whenever the PFL is active.
HEADPHONE OUTPUT: This stereo jack (TRS) provides the signal to drive stereo headphones.
It changes from the L-R mix to the PFL mix when the PFL is active. The level is set by the
headphone level control (#30). Tip=Left, Ring=Right, Shield=Ground.
PFL MASTER LEVEL: Sets the level of the PFL mix that is sent to the headphone level
control. Functions only when PFL is active.
PFL ACTIVE: This LED illuminates when the PFL is active and its signal is overriding the
standard L-R mix in the headphone outputs, and at the L-R meters. The signals that are
present in the PFL mix can be seen by the individual LEDs lit.
POWER: The power on LED indicator will light when the unit is powered.
MASTER SECTION OUTPUTS:
1. L and R OUTPUTS: 1/4" balanced, (Tip=High, Ring=Low, Shield=Ground) outputs of the
Left and Right mixes. The upper jack is the Left output, and the lower jack is the Right output.
Their levels are set by the respective master L/R faders.
. MONITOR 1 and 2 OUTPUTS: 1/4" balanced, (Tip=High, Ring=Low, Shield=Ground) outputs
of the Mon 1 and Mon 2 mixes. The upper jack is the Mon.1 output, and the lower jack is the
Mon 2 output. Their levels are set by the respective master Monitor faders. -
. BALANCED MONO OUTPUT: An XLR balanced output of the mono mix. The level is set by the
mono level control (4 29). Pin 2 is the positive output.
. PAD: Attenuates the Mono output signal by 30 dB. This may be necessary when sending this
output into another mixer that requires low-level signals to prevent overloading its inputs.
. AUX SEND: Output jack of the corresponding Aux mix. It is unbalanced, and can be used to
feed an external monitor system or effects unit. The level is set by the Aux master level (#12)
and the individual channel level control (#9).
. EFFECTS FOOTSWITCH: This jack is for a footswitch such as the Peavey #5100 single
footswitch. This jack will disable the effects board output except in Rotary Speaker mode,
where it will change the speed of the Rotary Speaker from fast to slow.
. POWER AMP INPUTS: These jacks are the point which breaks the connection between the Main
L & R outputs from the mixer preamp and the Graphic Equalizer inputs. Plugging into this jack
will allow the user to go directly into the Graphic Equalizer, then into its respective power
amplifier channel.
. SPEAKER OUTPUTS: These jacks are at the point at which the amplifier inside the XR 2012
exits the chassis to be connected to a speaker cabinet. Two cabinets can be connected to each
channel, as long as the combined impedance of the cabinets is not less than 2 OHMS min per
channel. (i.e., two 8 ohm cabinets in parallel=4 ohms, four 16 ohm speakers in parallel = 4 ohms,
etc.) Power amplifier output into 2 ohms is 600 watts continous, into 4 ohms is 400 watts continu-
ous, both amplifiers driven simultaneously. FOR 220/240 VAC UNITS ONLY - these units utilize
four conductor speakon connectors instead of 1/4" jacks. The same impedance rules apply,
however. Internally the speakon is wired Pin 1+ = channel output Pin 1-=Ground Pins 2+ and 2-
can be connected in parallel for high current applications.
Domestic Version Export Version
9. A/C POWER INLET: This is the receptacle for an IEC line cord, which provides AC power to the
A mixer/amplifier. Connect the line cord to this connector to provide power to the unit. Damage to
the equipment may result if improper line voltage is used (see line voltage marking on unit).
10. POWER: The mixer’s main power switch. The power on LED indicator (#34) will light when the
unit is powered.
XR 2012 POWERED MIXER APPLICATIONS
SOUND REINFORCEMENT:
1. Microphones and other low-impedance sources are connected to the XLR mic inputs; high-level
line inputs, such as electronic musical instruments, are connected to the 1/4" line inputs of
Channel 5 and 6. Other instruments, such as an acoustic guitar, are connected to the 1/4" Hi-Z
inputs of Channels 1-4. If problems arise because a microphone either picks up an out-of-phase
signal (as when using multiple drum microphones), or a very loud signal that causes clipping
even at a minimum gain setting (as when close miking an amplifier or a drum head), it can be
connected to a channel with pad and polarity switches (channels 7 & 8). Stereo line-level
sources (synth, tape, CD, etc.) can be connected to a stereo channel, or to two of the mono line
inputs (one panned left, the other panned right.)
2. Auxillary power amplifier inputs can be connected to the main Left and Right outputs, or to the
Mono output. The Mono output is a blend of the Left and Right output signals (post master
fader) and has its own level control (#29). It can be used to drive an additional amplifier, Radio
feed, Nursery feed, etc., that needs an independently set volume.
If you only need two Main speakers (out fronts) and two monitor speakers, the XR 2012 is
configured for this. On the front panel, in between the Graphic Equalizer sections, is a switch
labeled "Mode" (#10). This switch will cause the Monitor 1 signal to be routed to the Right
speaker and the L & R mixed together (into mono) to be routed into the Left speaker.
. If you prefer to use outboard power amplifiers for Monitors, then connect the monitor power
amplifier input to the Mon 1 or 2 output jacks (#2). If you use outboard EQs, then, of course,
they are hooked in between the Monitor 1 & 2 outputs and the power amplifier inputs. Two
monitor outputs are provided, Monitor 1 & Monitor 2.
. If an external effects device is used, connect its input to the Aux 1 output (#5).
. The effects device outputs are connected to the Channel 1-12 1/4" line inputs. Channels 1-6 are
mono return capable, Channels 9-12 are stereo return capable.
. Connect a tape recorder to the Tape input and Tape output jack. Care should be taken not to
record without the Record switch (#7) activated. The Record switch in the Tape in/out section
prevents feedback. A deck that has its outputs connected to the Tape input jacks and its inputs
connected to the Tape out jacks with the tape input level control turned up and the Record switch
off will cause feedback when placed into the Record mode.
If three-band equalization is needed, a line channel can be used for tape input (see above).
. On channels 1-8, the inserts can be used to patch compressors or EQ into the path. The Insert
points are pre-EQ, pre-fader. Tip is send, ring return and sleeve is ground.
. If not is use, Aux 1 can also be used as a sub mix.
. Connect the Left and Right outputs to the two-track mixdown deck inputs. If a graphic EQ,
compressor/limiter, or enhancer is used, connect it between the Left and Right outputs and the
tape deck inputs.
Specifications:
XR 2012 Powered Sound Reinforcement Mixer
Input Specifications:
Function Input z Input Gains Input Levels Bal/ Connector
(ohms) control Min** Nominal* Max | UnBal
Min setting
Microphone 2 k Max Gain -74 dBV -56 dBV -38 dBV | Bal XLR Pin 1 Gnd
(150 ohms) (56 dB) Pin 2 (+),
Pin 3 (-)
Min Gain -30 dBV -10 dBV +10 dBV
(10 dB)
Line 10 k Max Gain -57 dBV -37 dBV -20 dBV | Bal 1/4" TRS; Tip (+),
(10K ohms) (36 dB) Ring (-),
| Sleeve Ground
Min Gain -11 dBV +10 dBV +22 dBV
(-10 dB)
Insert Return 22 k N/A -16 dBV +0 dBV +18 dBV| Unbal | 1/4" TRS: Tip Send,
(0 dB) Ring Return,
Sleeve Ground
Stereo Line 20 k Max Gain -25dBV -15 dBV 0 dBV | Unbal | 1/4" Phone
Input (15 dB)
Min Gain N/A N/A N/A
(OFF)
Tape 10 К N/A -29dBV -10 dBV N/A | Unbal | RCA Jacks
(14 dB)
0 dBV=1V (RMS)
** Min input level (Sensitivity) is the smallest signal that will produce nominal ouput (0 dBV) with sliders
(channel & master) set for maximum gain.
* Nominal settings are defined as all controls set a 0 dB (or 50% rotation for rotary pots) except the gain
adjustment pot, which is as specified in the_Input gain control setting column.
itput Pre-power Amp Specifications:
Function Minimum Load Ouput Levels Bal/ Connector
Z UnBal
(Ohms) Nominal Max
Main L/R 600 +0 dBV +22 dBV Bal 1/4" Phone Tip (+),
Ring (-) Sleeve Gnd
Mono 600 +3 dBV +22 dBV Bal XLR: Pin 1 Gnd
| Pin 2 (+),
Pin 3 (-),
Monitor Masters 600 +0 dBV +22 dBV Bal 1/4" Phone Tip (+),
Ring (-), Sleeve Gnd
Aux Send 600 +0 dBV +18 dBV Unbal 1/4" Phone
Channel Insert 600 +0 dBV +18 dBV Unbal 1/4" TRS: Tip Send,
Send Ring Return,
Sleeve Ground
Headphone 8 +0 dBV +18 dBV Unbal 1/4" TRS: Tip Left,
| Ring Right,
Sleeve Ground
‘ape 10 K -0 dBV +18 dBV Unbal RCA
0 dBV=1V (RMS)
Gain:
Mic Input Gain Adj. Range:
Mic Input to L & R Output
Mic Input to longest path
Line Input Gain Adj Range:
Line Input to L 8: R Output
Line Input to longest path
Stereo Line Input Gain Adj. Range:
Stereo Line Input to L 8: R Output
Stereo Line Input to L & В Output
Stereo Line Input to longest path
Frequency Response:
Mic Input to L-R Output
Stereo Input to L-R Output
To Power Amplifier Output
Total Harmonic Distortion (THD):
10 dB to 56 dB
76 dB (Max Gain)
105 dB (Max Gain) to Power Amp Output
-10 dB to 36 dB
56 dB (Max Gain)
86 dB (Max Gain) to Power Amp Output
Off to +15 dB
+26 dB (Max Gain) Direct to L & R Bus
+36 dB (Max Gain) Thru Channel
+63 dB (Max Gain) to Power Amp Output
+53 dB (Max Gain) Direct to Power Amp Output
20 Hz to 30 kHz +0 dB / -1 dB
20 Hz to 30 kHz +0 dB / -1 dB
20 Hz to 30 kHz +0 dB / -1 dB
< 0.009% 20 Hz to 20 kHz Mic to L-R output at Nominal Level (20 Hz - 80 kHz BW)
Graphic Equalizer:
Filter Bandwidth
Filter Frequencies
Maximum Boost & Cut
Input Level
Input Impedance
Output Impedance
Power Amplifier:
Power Amplifier Gain
Power
1 Octave
63, 125, 250, 500, 1 К, 2 К, 4 К, 8 К, 16 К
+12 dB Boost, -15 dB Cut
O dBV (this level produces full power in Amp)
100 K ohms
N/A (Output connected directly to Power Amp input)
+27 dB
600W @ 2 ohms, 420 W RMS 4 ohms, 260 W RMS 8 ohms
per channel
Distortion
<.03% 1 @ Rated Power 10 Hz to 20 kHz
4 ohms
Compression:
Hum & Noise
Cooling
Protection
DDT (Dynamic range 23 dB)
>100 dB below 420 W (20 Hz - 20 kHz)
Dual continuously variable speed DC fans
Short & Open Circuit Protection
Hum and Noise:
| Output Residual Noise Test Conditions
| Ref: 0 dBV
—
Master L/R, -95 dBV All Faders Down
Monitor 1 a2
-83 dBV Master Fader Nominal,
Channel Faders Nominal,
Mic Inputs Terminated @ 150 ohms
(Hum and Noise Measurements: 20 Hz to 22 kHz BW)
Equivalent Input Noise (EIN):
-128 dBu (Input terminated with 150 ohms)
Crosstalk:
>80 dB Adjacent Input Channels (20 Hz - 20 kHz)
>70 dB Left to Right Outputs (20 Hz - 20 kHz)
Common Mode Rejection Ratio (Mic Input):
50 dB min (20 Hz - 20 kHz)
60 dB typ @ 1 kHz
Meters:
L/R Master = 12-segment, peak reading
(0 dB= 0 dBV)
~ Signal / Overload Indicators:
Red LED lights 2 dB below clipping.
Lamp Power:
12 VDC € 200 ma. Power is available between pins 1 and 2 and is electrically isolated from ground.
Power Requirements:
DOM: 120 VAC 60 Hz 1300 Watts Nominal 2080 Watts at Full RMS output power
EXP: 230 VAC 50/60 Hz 1300 Watts Nominal 2080 Watts at Full RMS output power
NOTES:
THIS LIMITED WARRANTY VALID ONLY WHEN PURCHASED AND REGISTERED IN THE UNITED STATES OR CANADA. ALL EXPORTED PRODUCTS ARE SUBJECT TO
WARRANTY AND SERVICES TO BE SPECIFIED AND PROVIDED BY THE AUTHORIZED DISTRIBUTOR FOR EACH COUNTRY.
Ces clauses de garantie ne vent vaiables qu’aux Etats-Unis et au Canada. Dans tour les autres pays, les clauses de garantie et de maintenance vent fixees par le distribu-
teur national et assuree par lul scion la legislation envigueur. * * Diese Garantie ist nur in den USA and Kanada gultig. Alle ExportProdukte sind der Garantie und dem
Service des Importeurs des jewelligen Landes unterworfen. * * Esta garantia es valida solamente cuando et producto es comprado en E.U. continentales o en Canada. Toda
los productos que seen comprados en el extranjero, estan suietos a las garantias y servicio que cada distribuidor autorizado determine y of rezca en los diferentes paise.
PEAVEY ONE-YEAR LIMITED WARRANTY/REMEDY
PEAVEY ELECTRONICS CORPORATION (“PEAVEY”) warrants this product, EXCEPT for covers, footswitches, patchcords, tubes and meters, to be free from defects in material and
workmanship for a period of one (1) year from date of purchase, PROVIDED, however, that this limited warranty is extended only to the original retail
purchaser and is subject to the conditions, exclusions, and limitations hereinafter set forth:
PEAVEY 90-DAY LIMITED WARRANTY ON TUBES AND METERS
If this product contains tubes or meters, Peavey warrants the tubes or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90)
days from date of purchase; PROVIDED, however, that this limited warranty is extended only to the original retail purchaser and is also subject to the conditions, exclusions, and limita-
tions hereinafter set forth.
CONDITIONS, EXCLUSIONS, AND LIMITATIONS OF LIMITED WARRANTIES
These limited warranties shall be void and of no effect, if:
a. The first purchase of the product is for the purpose of resale; or
b. The original retail purchase is not made from an AUTHORIZED PEAVEY DEALER; or
c. The product has been damaged by accident or unreasonable use, neglect, improper service or maintenance, or other causes not arising out of defects in material or workmanship; or
d. The serial number affixed to the product is altered, defaced, or removed.
In the event of a defect in material and/or workmanship covered by this limited warranty, Peavey will:
a. In the case of tubes or meters, replace the defective component without charge.
b. In other covered cases (i.e., cases involving anything other than covers, footswitches, patchcords, tubes or meters), repair the defect in material or workmanship or replace
the product, at Peavey's option; and provided, however, that, in any case, all costs of shipping, if necessary, are paid by you, the purchaser.
THE WARRANTY REGISTRATION CARD SHOULD BE ACCURATELY COMPLETED AND MAILED TO AND RECEIVED BY PEAVEY WITHIN FOURTEEN (14) DAYS FROM THE
DATE OF YOUR PURCHASE.
In order to obtain service under these warranties, you must:
a. Bring the defective item to any PEAVEY AUTHORIZED DEALER or AUTHORIZED PEAVEY SERVICE CENTER and present therewith the ORIGINAL
PROOF OF PURCHASE supplied to you by the AUTHORIZED PEAVEY DEALER in connection with your purchase from him of this product
If the DEALER or SERVICE CENTER is unable to provide the necessary warranty service you will be directed to the nearest other PEAVEY AUTHORIZED
DEALER or AUTHORIZED PEAVEY SERVICE CENTER which can provide such service, OR
b. Ship the defective item, prepaid, to: PEAVEY ELECTRONICS CORPORATION
International Service Center
326 Hwy. 11 & 80 East
Meridian, MS 39301
Including therewith a complete, detailed description of the problem, together with a legible copy of the original PROOF OF PURCHASE and a complete return
address. Upon Peavey's receipt of these items: If the defect is remedial under these limited warranties and the other terms and conditions expressed herein
have been complied with, Peavey will provide the necessary warranty service to repair or replace the product and will return it, FREIGHT COLLECT, to you,
the purchaser.
Peavey's liability to the purchaser for damages from any cause whatsoever and regardless of the form of action, including negligence, is limited to the actual damages up to the greater
of $500.00 or an amount equal to the purchase price of the product that caused the damage or that is the subject of or is directly related to the cause of action Such purchase price will
be that in effect for the specific product when the cause of action arose. This limitation of liability will not apply to claims for personal injury or damage to real property or tangible person-
al property allegedly caused by Peavey’s negligence, Peavey does not assume liability for personal injury or property damage arising out of or caused by a non-Peavey alteration or
attachment, nor does Peavey assume any responsibility for damage to interconnected non-Peavey equipment that may result from the normal functioning and maintenance of the
Peavey equipment.
UNDER NO CIRCUMSTANCES WILL PEAVEY BE LIABLE FOR ANY LOST PROFITS, LOST SAVINGS, ANY INCIDENTAL DAMAGES, OR ANY
CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PRODUCT, EVEN IF PEAVEY HAS BEEN ADVISED OF THE POSSIBILITY
OF SUCH DAMAGES.
THESE LIMITED WARRANTIES ARE IN LIEU OF ANY AND ALL WARRANTIES, EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WAR-
RANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR USE: PROVIDED, HOWEVER, THAT IF THE OTHER TERMS AND CONDITIONS NECESSARY TO THE EXIS-
TENCE OF THE EXPRESSED, LIMITED WARRANTIES, AS HEREINABOVE STATED, HAVE BEEN COMPLIED WITH, IMPLIED
WARRANTIES ARE NOT DISCLAIMED DURING THE APPLICABLE ONE-YEAR OR NINETY-DAY PERIOD FROM DATE OF PURCHASE OF THIS PRODUCT.
SOME STATES DO NOT ALLOW LIMITATION ON HOW LONG AN IMPLIED WARRANTY LASTS, OR THE EXCLUSION OR LIMITATION OF INCIDENTAL
OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. THESE LIMITED WARRANTIES GIVE YOU SPECIFIC LEGAL
RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH MAY VARY FROM STATE TO STATE.
THESE LIMITED WARRANTIES ARE THE ONLY EXPRESSED WARRANTIES ON THIS PRODUCT, AND NO OTHER STATEMENT, REPRESENTATION, WARRANTY, OR
AGREEMENT BY ANY PERSON SHALL BE VALID OR BINDING UPON PEAVEY.
In the event of any modification or disclaimer of expressed or implied warranties, or any limitation of remedies, contained herein conflicts with applicable law, then such modi-
fication, disclaimer or limitation, as the case may be, shall be deemed to be modified to the extent necessary to comply with such law.
Your remedies for breach of these warranties are limited to those remedies provided herein and Peavey Electronics Corporation gives this limited warranty only with respect
to equipment purchased in the United States of America.
INSTRUCTIONS—WARRANTY REGISTRATION CARD
1. Mail the completed WARRANTY REGISTRATION CARD to:
: PEAVEY ELECTRONICS CORPORATION
P.O. BOX 2898
Meridian, MS 39302-2898
a. Keep the PROOF OF PURCHASE In the event warranty service is required during the warranty period, you will need this document. There will be no identification card issued
by Peavey Electronics Corporation
2. IMPORTANCE OF WARRANTY REGISTRATION CARDS AND NOTIFICATION OF CHANGES OF ADDRESSES:
a. Completion and mailing of WARRANTY REGISTRATION CARDS—Should notification become necessary for any condition that may require correction the REGISTRATION CARD.
will help ensure that you are contacted and properly notified.
b. Notice of address changes - If you move from the address shown on the WARRANTY REGISTRATION CARD, you should notify Peavey of the change of address so as to facili
tate your receipt of any bulletins or other forms of notification which may become necessary in connection with any condition that may require dissemination of information or correction
3. You may contact Peavey directly by telephoning (601) 483-5365.
IMPORTANT SAFETY INSTRUCTIONS
WARNING: When using electric products, basic cautions should always be followed. including the following.
1.
10.
IT.
I 2.
13.
15.
16.
17.
18.
Read all safety and operating instructions before using this product.
All safety and operating instructions should be retained for future reference.
Obey all cautions in the operating instructions and on the back of the unit.
All operating instructions should be followed.
This product should not be used near water, i.e., a bathtub, sink, swimming pool, wet basement, etc.
This product should be located so that its position does not interfere with its proper ventilation. It should not be placed flat against a wall
or placed in a built-in enclosure that will impede the flow of cooling air.
This product should not be placed near a source of heat such as a stove, radiator, or another heat producing amplifier.
Connect only to a power supply of the type marked on the unit adJacent to the power supply cord.
Never break off the ground pin on the power supply cord. For more information on grounding, write
for our free booklet “Shock Hazard and Grounding."
Power supply cords should always be handled carefully. Never walk or place equipment on power supply cords. Periodically check cords for
cuts or signs of stress, especially at the plug and the point where the cord exits the unit.
The power supply cord should be unplugged when the unit is to be unused for long periods of time.
If this product is to be mounted in an equipment rack, rear support should be provided.
Metal parts can be cleaned with a damp rag. The vinyl covering used on some units can be cleaned with a damp rag or an ammonia-based
household cleaner if necessary. Disconnect unit from power supply before cleaning.
are should be taken so that objects do not fall and liquids are not spilled into the unit through the ventilation holes or any other openings.
This unit should be checked by a qualified service technician if:
a. The power supply cord or plug has been damaged.
b. Anything has fallen or been spilled into the unit.
C. The unit does not operate correctly.
d. The unit has been dropped or the enclosure damaged.
The user should not attempt to service this equipment. All service work should]d be done by a qualified service technician.
This product should be used only with a cart or stand that is recommended by Peavey Electronics.
Exposure to extremely high noise ]Jlevels 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 Safety and Health Administration (OSHA) has specified the following permissible noise level exposures.
Duration Per Day In Hours | Sound Level dBA, Slow Response
8 90
6 92
4 95
3 97
2 100
11/2 102
1 105
1/2 | | | 110
1/4 or less | 115
ording to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors hl the ear
al]s 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
ot the limits as set forth above. To ensure against potentially dangerous exposure to high Sound pressure levels. it is recommended that all persons
exposed to equipment capable of producing high sound pressure levels such as this s amplification system be protected by hearing protectors while
this unit is in operation.
SAVE THESE INSTRUCTIONS!
FENEY
Features and specifications subject to change without notice.
Peavey Electronics Corporation * 711 A Street « Meridian * MS e 39301 e (601) 483-5365 * FAX 486-1278
LEO pind in te US A 199
80304
374
01908 ||