Peavey 600S Mark 1 Series Mixer Owner Manual

Peavey 600S Mark 1 Series Mixer Owner Manual
711 ASH
Meridian, MS 39501
INPUT CIRCUITRY - The input attenuator should be
operated in the position yeilding the least attenuation
required to avoid clipping. Operation in this mode allows
maximum gain to be utilized in the input preamp where it
is most efficiently obtained. Excessive input padding
sometimes makes necessary higher settings of the
channel gain controls and/or master control thus yeilding
a less than optimum signal-to-noise ratio for any given
It is important to realize that not all "break-up" is
caused by the mic signal overloading the input stage of
the mixer. If the performer's mic technique includes very
close and/or very loud situations, the internal elements of
the mic can “bottom out” or distort just as a loudspeaker
can when it is overdriven. Quite a few of the mics now
used by performers lack the dynamic range required to
adequately handle the tremendous sound pressure levels
encountered in a very loud rock and roll concert situation.
It is vital for the professional soundman and the musicians
to be aware of the limitations of the various links in the
audio system in order to correctly diagnose and solve
the various problems encountered in a sound
reinforcement situation.
Overall, the input preamplifier gain adjustment is the
first control in the circuit and must be set up properly in
order for the remaining circuits to function properly.
"Common sense” and experience operating the 600
Stereo Mixer on several jobs will allow the operator to
achieve superb results in virtually any mixing situation.
Our variable input preamplifier gain allows for much more
flexibility than some other manufacturer's mixers that
only have switchable fixed attenuation of maybe 10to 20
de, where sometimes 10 dB may not be enough and 20d8
may be too much attenuation. The 600 Stereo Mixer's
input gain is continuously variable from 0 dB to -40 dB.
The MONITOR SEND CONTROL is the channel
mixing element for determining the all important monitor
mix. The signal for the monitor send is obtained right after
the input preamp and before the channel EQ. This is
referred to as a Monitor Pre-send Control, i.e., it is before
or pre to the channel equalization and slider level control.
This makes it independent of these controls, meaning that
any changes made to the EQ or channel level will not
atfect the monitor system. Having the monitor send with
the pre capability is absolutely vital to avoid feedback of
the monitor system when EQ and normal incremental
output variations are made in the channel fader during the
course of the performance.
EQUALIZATION - The equalization circuitry of the
600 Stereo Mixer is the latest active type, utilizing negative
feedback technology. We selected circuitry that produces
a "shelving" type of action because the conventional type
circuitry used by some manufacturers tends to create
erratic or sometimes harsh sounding results when in the
near-maximum boost positions. These two equalization
controls will produce extremely smooth action as well as
giving effective tone control. Experience will show their
utility in achieving professional channel equalization on
the job.
It should be remembered that these active
equalization circuits are a form of "electronic crossover”
in which the equalization controls are similar to level
controls for their respective frequency bands.
Generally, it is poor operating practice to use both
equalizer controls in the deep cut (counter-clockwise)
positions since this results in substantially lower gain
from the channel. It should be remembered that the
balance of highs and lows is a relative situation, and
cutting overall channel gain should properly be done by
the output slide attenuator or input attenuator.
better than 15 dB boost or cut @ 100 Hz with a sloping
characteristic exhibited up to the crossover point. The
shelving action of this control has proven to yeild a much
more satisfying and effective equalization characteristic
than some of the "wide open” equalization circuits
claiming 20 - 25 dB boost and cut. The action of this
equalization control is conventional and should present
no problem in operation. Boost is obtained in the
righthand (clockwise) opsition while cutis obtained in the
lefthand (counter-clockwise) position. The vertical (12
o'clock) position yeilds a flat (no boost or cut) response
and is the position from which all tonal balancing should
be started.
15 de boost or cut (9 5 kHz with a shelving characteristic
sloping down to the crossover point. The boost or cut
action of this control is very similar to that of the low
equalizer with the exception of its high frequency effect.
Boost is obtained to the right of center position while cut
is obtained to the left of the center position. Flat response
is obtained in the center (12 o'clock) position.
Caution should be exercised in using extreme low-
frequency boost to avoid emphasing objectionable wind
noises or rumble from the microphone as well as any hum
that might enter the mixer from external sources.
Excessive treble boost should be avoided to keep residual
noise from the amplification circuitry to reasonable level
as well as to avoid a strident or screeching tonality in the
output program material.
The EFFECTS SEND CONTROL is the channel level
for determining the amount of signal from each respective
channel to be sent to the effects output or to be mixed into
the reverb summing buss. The effects send circuit has
been designed to provide multiple functions which will be
explained further in the master control section.
The STEREO PAN is the control used to achieve the
desired balance from each individual channel into the A
and B main output mixing busses. The Pan control may be
thought of as a kind of balance control determining the
signal sent to either of the stereo outputs of the 600
Stereo. This Pan control is present on all professional
multi-channel mixers, and is useful in achieving many
special effects in sound reinforcement as well as being
absolutely necessary in stereo tape recording. Again,
experimentation and “hands on” experience with the 600
Stereo Mixer are key factors in the use of the Pan control.
WARNING: To prevent electrical shock or fire hazard, do not expose
this appliance to rain or moisture.
The Pan is capable of assigning the channel output to
either A or B main channels or any combination in
between. It is Important to remember that the Pan control
follows (post) the channel output fader.
level control that determines the mix into the main
summing buss. Its calibration is in decibels of attenuation
and this is why the numbering sequence goes from off
(infinity == ), or maximum attenuation to zero (0), or no
attenuation. Remember that attenuation is the cutting or
reduction of the signal level i.e., the more attenuation, the
more you have cut down the signal level. The output fader
is calibrated in accordance with standard practice for
professional audio equipment,
Proper setting of the input attenuator (pad) should
produce adequate gain within the input preamp to allow
slider settings approximately in the center (approximately
-40 to -20 dB). You should remember that the input
attenuator is a kind of pre gain control anditssettings will
most definitely influence the settings for the output slider
with any given input signal. The input attenuator should
be adjusted for the maximum gain that will allow
distortion free performance, then the output slider level
should be adjusted for proper mix.
It is very poor operating practice to use the input pads
in the extreme cut positions and then have to set the
output sliders in their close to maximum positions to
obtain adequate channel output. This type of operation
results in less than optimum signal-to-noise ratios as well
as contributing to headroom problems. As with any
system, "common sense” must be combined with
operating knowledge to produce satisfactory results.
Overall, the channel controls should be set to provide a
reasonable amount of “adjustment” i.e., none of the gain
controlling elements (input attenuator/output slider)
should be operated near their extreme up or down
positions. After several hours usage, the operator will
have acquired a good "feel" for the characteristics of the
controls and should be able to suitably handle any
mixdown situation encountered in the field with
satisfactory results.
MASTER AREA - The master area of the 600 Stereo
Mixer contains all the master or final output controls for
the mixing busses. The main mixing buss equalization
features shelving type high and low EQ. The Effects level
is the master control for the effects mixing buss.
The master level controls of the 600 Stereo Mixer
should be set in such a manner that they are close to the
center of their travel to take advantage of maximum
control action. It is poor practice to run the channel faders
up near maximum and then run the main fader near the
low end to achieve the desired output levels Operation in
this manner will cause the operator to loose his “range” in
control action with all the gain located in one element
while the other is near its stop position. Best practice calls
for most controls to be operated in their middle or slightly
higher positions to allow maximum mixing control
margins (travel). Remember, when mixing, you MUST
allow yourself adequate margins within which to operate
and by using any of the faders in their extreme (close to
the stop) positions, you have effectively reduced your
range of control. This manner of operation also tends to
create "headroom" problems.
These master controls allow the operator complete
flexibility for functions and should allow almost any
mixing situation to be handled by the 600 Stereo. As with
any reasonably complex system, experience and operator
knowledge of the equipment are essential for satisfactory
performance. The mixer, like the musician's instrument,
should be practiced on and learned. To properly operate a
mixer during a performance requires thorough
knowledge and trained reflexes to allow proper responses
under the stress of demanding and sometimes sudden
situations. The musician should know his mixer almost as
well as he knows his instrument, so that his reactions will
be both smooth and proper to correct whatever problem
or requirement that should arise during a performance...a
professional must work at it!
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The MASTER OUTPUT FADERS are the controls that
determine the main output level for the output connectors
located on the rear panel. The main summing amps, as
well as the other summing busses, are of the very latest
“zero null” type using negative feedback to achieve
maximum dynamic range, lowest noise, and crosstalk.
The master faders should be operated in accord with the
proper operating practices as outlined above.
Experimentation and experience on several jobs will allow
the operator to achieve a "feel" for the right settings for
his requirements.
capable of 15 dB boost or cut @ 50 Hz. These equalizers
are similar to those used in the individual channels and
are designed to exhibit a “shelving” characteristic which
has proven to yeild the best results in this type
application, The controls are “flat” with no boost or cut in
the straight up (12 o'clock) position with boost being
obtained in the righthand (clockwise) position. Care
should be taken NOT to over-boost with the master EQ
controls. Since each channel is equipped with
equalization, 111s poor practice to use too much additional
boost in this master section. Over-boosting on low
frequencies will impart a boomy and muffled tonality to
the program material and will substantially decrease the
intelligibility of voices being mixed through the console.
capable of 15 dB boost or cut (@ 10 kHz and are designed
to exhibit a “shelving” characteristic. The operation of
these EQ controls is similar to the low EQ with the
exception of the fact that they control the high frequency
portion of the audio spectrum on their respective
channels. Care should be taken not to over-boost the high
frequencies to avoid undue amplification of residual
system noise (hiss) as well as creating a “strident” or
screechy sounding system. High frequency over-boost
also tends to create undue accustic feedback. When
balancing ANY of the equalizers for proper tonality, you
always start with ALL equalizers in their flat {12 o'clock)
positions and work from there. After you have spent
several hours working with any particular setup of mics,
performers, etc., you will acquire a good working
equalization setup and be able to achieve the desired
The EFFECTS RETURN is the gain control for the
effects return jack located on the rear panel. This effects
return input enables the signal from an external source to
be mixed back into the main (A and B) mixing busses. This
Effects return is similar to an auxiliary input and actually
may be used as such. This feature is intended to be used
with effects or other devices that are used in conjunction
with the effects output, and the signal return from the
external unit should be brought into the effects return
whose level is controlled by the Effects Return Control.
The EFFECTS PAN is the control that enables the
operator to place the signal from the effects level return
control on either, both, or any combination in between the
A and B main channels. This panning capability MUST be
present to retain true stereo capability for the 600 Stereo.
The action of this pan control is similar to those on the
individual channeis and should present no problem in
The EFFECTS LEVEL is the control that determines
the overall signal output level for the effects send buss.
This effects buss has two output connectors associated
with it, one is a high level output that can be used to drive a
power amplifier for an additional monitor system and the
Other Is a low level output designed to drive the input of an
effects device such as an echo unit, phasor, digital delay
line, etc. In addition to driving the high and low level
effects outputs, the effects level control also determines
the drive to the internal reverb delay lines. This effects
level control must be adjusted so that the output level
from the jack on the rear panel does not overload the input
circuitry of the effects unit you are driving, thus causing
clipping or other forms of distortion. This is especially
critical on some of the special effects units that are
designed to work with guitars or other instruments with
relatively low output levels.
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The REVERB CONTOUR is the control used to vary
the tonality of the reverb signal and is a low cut type
equalizer. This contour control is very useful in tailoring
the reverb sound and in controlling reverb induced
feedback. Balancing these reverb controls will yeild many
combinations of reverb delay, tonality, and sustain.
The MONITOR MASTER FADER is the output level
control for the main monitor system. The same operating
practices should be observed when using this control as
when using the main channel controls. The individual
channel monitor send controls should be set in such a
manner that will allow the monitor master slider (fader) to
be operated somewhat in the middle of its travel to allow
yourself adequate control margins, up or down, as might
be required on the job. The monitor output signal is flat,
that is, we did not include equalization for the monitor in
the 600 Stereo Mixer since this equalization is usually
external to the mixer and is best performed on the stage
itself, which is generally at some considerable distance
from the mixer. It is because the mixer is usually located
remotely from the performing area that it is sometimes
difficult for the manitar equalization to be performed at
the mixer.
The METER SET CONTROLS enables the VU meters
to be adjusted for proper indication with any power
amplifier, tape recorder, or other equipment driven by the
mixer. If your power amp, tape recorder, etc... has VU
meters, the level set control can be adjusted to track the
800's VU meters witha constant input signal, Le., set the
500's meters to read “0” VU at the same level as the
external equipment's VU does, With equipment that has
LED overload indicators, the 600's meters should beset to
zero VU at the point where the LED peak indicator initially
lights up.
The 600 Stereo Mixer rear panel features a complete
patching panel for various output and input functions, as
well as the microphone input connectors for each
Each channel's input connectars are labeled with its
identification number, as well as an indication of whether
the input is for high or low impedance. The high
impedance connectors are standard phone jacks. The low
impedance connectors are of the cannon type, three
conductor connector to be used for low impedance
microphones only, and will accept 150 to 600 ohm mics.
The channel line output jack is an output derived alter
the input gain control but prior to the equalization
circuitry, This output may be used for recording or
menitor mix purposes.
simultaneous tape recording during a performance when
the B00 Stereo is used as a sound reinforcement mixer.
The MAIN AUXILIARY INPUTS A and B are inputs to
the main A and B mixing busses of the 600 Stereo Mixer.
These inputs are used when patching another mixer to the
600 Stereo or any time a signal source is to be placed
either on the main À or B mixing buss.
The MONITOR AUXILIARY INPUT is an input to the
monitor mixing buss and is to be used when patching
another mixer to the 600 Stereo aranytime asignal isto be
placed on the monitor mixing buss.
The EFFECTS AUXILIARY INPUT is the input to the
effects mixing buss of the 600. This input mixes a signal
with the effects buss at the same point as the individual
channels and is to be used when patching two mixers
together or any time access is needed to the effects
mixing buss,
The EFFECTS RETURN JACK is where the signal
returning from an effects device patches into the 600
Stereo Mixer.
The MONITOR QUTPUT 18 unbalanced and is
capable of 5 volts RMS into 10K ohms load impedance.
The A & B MAIN OUTPUTS are located on the rear
panel and are standard a phone jacks. The putpuls are
unbalanced andare capable of 5 volts BMS into 10 K ohms
load inpedance. These levels are capable of driving most
commercial power amplifiers or other auxiliary
equipment to full performance by a wide margin and
should allow a more than adequate amount of headroom
in nearly any application.
The EFFECTS HIGH QUTPUT is capable of 2 volts
RMS into 10K ohms Icad and can be used to drive an
additional power amplifier and speaker system from the
effects buss to obtain and additional monitor,
The EFFECTS LOW OUTPUT is a lower level signal
than the effects high and is intended to drive the input of
an effects device such as an echo unit, phasor, etc. It is
capable of 0.4 volts BMS into 10K ohms.
Both the effects high and effects low outputs are
controlled by the effects level control and both jacks can
be used simultaneously
The REVERB FOOTSWITCH JACK is used with an
auxiliary footswitch to enable the operator to defeat the
reverb function of the mixer remotely.
Low impedance unbalanced microphone 600 ohm (cannon plug)
High impedance unbalanced line 50 K ohm (phone plug)
Input Attenuator:
Continuously variable from 0 dB to -40 dB
Total gain of mixer (@ 0 dB attenuation =60 dB
A and B main and monitor
Unbalanced 5v rms into 10 K ohms, 2v rms into 600 ohms (+8 dBm)
Channel Line Output:
1.0 volts rms into 10.0 K ohms
Frequency Response:
20 Hz - 20 kHz +2 dB @ 2v rms output (+8 dBm)
Total Harmonic Distortion:
0.1% THD 20 Hz - 10 kHz @ 2v rms output (+8 dBm)
Equivalent Input Noise:
Low Z input, -123 dBv @ 150 ohms (0.7 V)
High Z input, -80 dB below 2v rms @ 20 dB gain
-50 dB @ 1 kHz (between A and B mains)
-70 dB @ 1 kHz (between mains and monitor or effects)
Due to our efforts for constant improvement, specifications are subject
to change without notice.
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