Peavey CS 800S, CS 500S, CS 500A, 80304543 User Manual

CS 500A

500 Watt Professional Stereo Amplifier

Operating Guide

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Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer

servicing to qualified service personnel. WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before

using this appliance, read the operating guide for further warnings.

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pueda reparar. Deje todo mantenimiento a los técnicos calificados. ADVERTENCIA: Para evitar corrientazos o peligro de incendio, no deje expuesto a la lluvia o humedad este

aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.

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aucune pièce pouvant être reparée par l’utilisateur. Confier I’entretien à un personnel qualifié. AVERTISSEMENT: Afin de prévenir les risques de décharge électrique ou de feu, n’exposez pas cet appareil à la

pluie ou à l’humidité. Avant d’utiliser cet appareil, lisez les avertissements supplémentaires situés dans le guide.

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CS®500A POWER AMPLIFIER

Congratulations on your purchase of the new CS®500A stereo power amplifier.This latest version is the most advanced ever, using state-of-the-art analog power supply technology to deliver high fidelity and rock solid performance in a tworack-space unit that’s the little brother of the famous CS®800S.This new design retains the extended performance capability of the old CS®400X, providing very impressive two ohm output power capability, and maintaining the old 4 and 8 ohms ratings with awesome industry standards for power bandwidth, slew rate and distortion specifications. Following are the new CS®500A specs:

• Music Power: 275 W RMS @ 4 ohms, 400 W RMS @ 2 ohms (per channel)

• Music Power: 550 W RMS @ 8 ohms, 800 W RMS @ 4 ohms (bridged)

• Continuous Power: 200 W RMS @ 4 ohms, 250 W RMS @ 2 ohms (per channel)

• Continuous Power: 400 W RMS @ 8 ohms, 500 W RMS @ 4 ohms (bridged)

• Slew Rate: 40 V/microsecond, stereo mode, each channel

• Power Bandwidth: 10 Hz to 50 kHz @ 4 ohms, @ rated power

• Total Harmonic Distortion: Less than 0.03%, @ rated power

• Hum and Noise: 100 dB below rated power,unweighted

• Damping Factor: Greater than 300 @ 8 ohms, 100 Hz each channel

Two heavy-duty analog transfor mers are used to provide extremely high power capability and are designed to fit nicely in a conventional two-rack-space unit. Additionally, the power supply is designed to produce a higher-than-normal no load voltage value, and has large, over-sized electrolytic capacitors.This combination results in a power supply with a high Dynamic Headroom value of more than +2 dB.As such this DH value will produce an awesome “music power” output capability, resulting in a power amp that “sounds” much louder than one would expect from a typical 200 W RMS per channel unit.The supply has a thermal monitor system that will protect it from extreme overloads and excessive operating temperatures.The new CS

500A retains the Peavey patented DDT™compression system which virtually eliminates any possibility of clipping.The new back panel design includes plug-in modules for both inputs and outputs, offering flexible patching features and various connector choices.Two variable speed DC fans provide tremendous cooling capability upon demand.

THE AMP FEATURES

• Two-rack-space height...less than 17" depth

• Advanced DDT™compression system

• Plug-in modular inputs

• Dual XLR (balance)/phone jack (unbalance) with “thru” output per channel

• Universal two and three-way crossover modules available as options

• Other specialized modules available as options

• Plug-in modular outputs

• Dual phone jack and 5-way binding post per channel

• Dual Speakon

connectors and 5-way binding post per channel available

as option

• Replaceable channel modular construction

• Two variable speed DC fans...lower noise levels

• Calibrated/detented input attenuator control each channel

• DDT™activation LED and power LED each channel

• Recessed rear panel DDT™and bridge switch

• IEC mains connector

• Significantly reduced mains turn-on surge

ENGLISH

We hope you will find your new CS®500A to be not just another power amplifier, but the most exciting power amplifier you have ever purchased. Please read over this owner’s manual carefully. It will help you to use this exciting product to its greatest capability.

FRONT PANEL

DDT™ACTIVE LED (1)

Illuminates when DDT™Compression is taking place.With the ENABLE/DEFEAT switch in the DEFEAT position, the LED indicates when clipping distortion is occurring.

POWER LED (2)

Illuminates when AC power is being supplied to the amp and the associated channel is operational.Illumination is delayed slightly during the power-up cycle due to the transient suppression/thermal fault circuitry. If either channel experiences fault conditions or exceeds the safe operating temperature limits, that channel will shut down and the associated power LED will go out indicating such conditions exist. Also, whenever the BRIDGE mode is selected, the power LED on channel B is defeated (OFF), just as if there were a fault condition on channel B.This provides a positive indication that the CS®500A is in bridge mode.

INPUT SENSITIVITY (3)

Maximum power amplifier input gain (minimum sensitivity) is achieved at the full clockwise setting. This setting yields maximum mixer/system headroom. A setting of less than full clockwise will yield lower system noise at the expense of headroom. Calibration indicates sensitivity in dBV necessary to attain the full output power rating.

POWER SWITCH (4)

Depress to “on” position to power up unit.

AIR EXHAUST PORT (5)

This is where the hot air from the heat sinks exhaust from the amplifier. Any restriction or blockage could cause excessive operation temperatures, and the unit could shut down!

REAR PANEL

CIRCUIT BREAKER (6)

The CS®500A uses a circuit breaker in place of the main fuse.This breaker is provided to limit the current to the analog power

supply and thereby protect it from overheating and possible destr uction due to fault conditions in the amplifier.The trip current value has been carefully chosen to allow continuous power output performance while still providing adequate protection for the power supply. Normally, this breaker should not trip unless there is a fault in the amplifier circuitry that draws excessive mains current. However, abnormal conditions such as a shor t circuit on either or both channels or continuous operation at overload or clipping,

1 2

25 5

especially into a 2 ohm load, will cause the breaker to trip.If this occurs, simply reset the breaker and correct the cause of the overload.When tripped, the button on the breaker will be outward nearly 1/2" and can be reset by pushing inward.A normal reset button length is about 1/4". If this “thermal” type breaker does trip, then simply pushing the button back in will reset it after waiting a brief period of time to allow it to cool. If the breaker trips instantly when you attempt to reset it, the unit should be taken to a qualified service center for repair.

IEC MAINS POWER CONNECTOR (7)

The CS®500A is fitted with a universal IEC connector. Into this connector one should always insert a heavy-duty #16 AWG 3

conductor line cord with a conventional AC plug with a ground pin. This line cord should be connected to an independent mains circuit capable of supporting at least 15 amps continuously or greater.This is particularly critical for sustained high power applications. If the socket used does not have a ground pin, a suitable ground lift adapter should be used and the third wire grounded properly. Never break off the ground pin on the 3 conductor line cord.The use of extension cords should be avoided. If, however, their use is necessary, always use a three-wire type with at least a #16 AWG wire size.The use of lighter wire will severely limit the power capability of this amplifier.Always use a qualified electrician to install any necessary electrical equipment.To minimize the risk of shock or fire hazard, always be sure that the amplifier is properly grounded.

DDT™SWITCH (8)

This switch is used to either ENABLE or DEFEAT the DDT™compressor.

MODE SWITCH (9)

This switch is used to select either STEREO or BRIDGE mode of operation.

THE B1 INPUT MODULE (10)

The standard input module shipped with each amplifier is called the B1 MODULE. It offers both XLR electronic balanced and phone jack quasi-balanced inputs for each channel using Neutrik’s®new “combo” connector to save panel space.

The Female XLR Inputs (11) are connected to dual OP AMP circuitry which offers very low noise and extremely high common mode rejection ratio to minimize outside interference!

The Female 1/4” Phone Jack Input (12) in the center of the “combo” connectors is also connected to a unique “quasi-balanced” input circuitry. When used, these 1/4" jacks are not “chassis grounded” but connected to ground through a relatively low impedance circuit which is part of a “ground loop” elimination circuitry associated with the input.This feature will normally allow “hum free”operation when relatively short 1/4" cable patches are made to this input from various outputs on this amp and other equipment that share the same rack with this amp.This “quasi-balanced” circuit is “automatic,” and is vir tually invisible in normal usage. It cannot be defeated.

Between the two XLR connectors is a Recessed Switch (13) that allows the user to select the desired polarity (phase) of the XLR inputs.This switch is a push-push type, and a small diameter “tool” is required to select the desired position. Set to the out (default) position, the polarity is pin #3 positive, pin #2 negative, and pin #1 ground.This is the polarity found on most Peavey power amplifiers. Although this is not the world “standard” (IEC) polarity, it was chosen by Peavey more than 20 years ago, and thus we offer this polar ity to be consistent with products both past and present. If this amplifier is used with other competitive products which use the IEC standard polarity, then the “in” position of switch (13) should be selected yielding pin #2 positive, pin #3 negative, and pin #1 ground. As with any electronic gear, polarity (phasing) is important, because the loudspeaker enclosures associated with this power amplifier must be in phase with any other loudspeaker enclosures associated with other power amps. If one loudspeaker system were to “push” while the other “pulls,” a serious sound “cancellation” could result. Changing the setting of the polar ity switch has the same effect as reversing the polarity of the loudspeaker connections at the output.

Each channel also has a Female Phone Jack (14) labeled “thru”.This jack offers very flexible patching capability. When the XLR input connectors (11) are used, this THRU jack is the output of the electronic balanced input circuitry, and as such can be used as a “line out” to connect to the other input jack on this amplifier or other amps in the same rack.Thus, one balanced mixer feed can be

11 12 14

connected to the amp via the XLR connector and then further distributed locally via the THRU jack. Alternatively, when the 1/4" phone jack input (12) is used as the input, the THRU jack becomes a “bridged” input to it (similar to a Y-cord), again allowing this input signal to be patched to the other input jack on this amplifier or other amps in the system.IMPORTANT: The THRU jack is not intended to be “input”, and inadvertent usage as such will result in excessive loading of the input source.Although not a catastrophic mistake, it will cause a significant reduction in “system gain” due to the loading, and will seriously limit the overall system performance.

Additional input modules are available from your author ized Peavey Dealer. Details of these modules and the installation instructions can be secured from this source.

THE P1 OUTPUT MODULE (15)

The standard output module shipped with each amplifier is called the P1 MODULE. It offers both dual 1/4" jacks and 5-way binding post speaker outputs for each channel. For each channel, the outputs are in parallel, hence the speaker connection cables can be terminated with 1/4" phone plugs, or banana plugs or stripped wires for use in the binding post terminals. For sustained high power applications, the use of the binding post terminals are recommended; however, care must be exercised to assure the correct speaker phasing. The red binding posts are the signal outputs from each channel, and the black binding posts are chassis ground.The red binding post should be connected to the positive inputs of the associated loudspeakers.For bridge mode operation, only the red binding posts are used, and the associated loudspeaker load is connected between the two red binding posts.The red binding post associated with Channel A should be considered the positive output for the system and thus should be connected to the positive input of the associated loudspeaker system.

Regardless of what connections are used, the minimum parallel speaker load should always be limited to 2 ohms per channel or 4 ohms bridge mode for any application. Operation at loads of 4 ohms per channel or 8 ohms bridge mode is more desirable for sustained operation applications due to the fact that the amplifier will run much cooler at this loading. Operation above 4 ohms per channel and even open circuit conditions can always be considered safe; however, sustained operation at loads below 2 ohms could result in temporary amplifier shut down due to the thermal limits fault circuitry.

THE P1 OUTPUT MODULE REAR VIEW (16)

This diagram shows the wiring for the P1 MODULE.Note that the module itself is upside down.This is the desired position when re-connecting this and any other module. Once the correct connections to the 1/4" spades are made, then the module itself can be rotated upward and inserted into the rear panel of the CS®-500A, and the panel screws replaced.

WARNING: Never operate the CS®500A with either

the output or input modules removed.Operating in this manner will allow the air flow from the fans to escape from these openings instead of flowing through the power amp and power supply components, and thereby not provide adequate cooling for these components.

Following are several other module rear views of a different module and the various wiring schemes.The diagram above and the ones following are provided so that these modules can be correctly wired.Always double-check the wiring. A miswired module can cause severe audio problems, and in the worst case, can cause loudspeaker degradation and failure.In all cases, the color-coded wires are indicated.The double red and yellow wires are the power amp outputs and are not interchangeable.The black wires are the power amp ground connections and are interchangeable.

THE S2 OUTPUT MODULE (17)

The S2 output module offers dual Speakon®Quick Connectors and a unique patching capability to wire these connectors to meet the particular application. The Speakon

is a four-wire connector with the connections labeled as 1+, 1-, 2+ and 2-. Depending upon the loudspeaker needs, these connections can be used in various ways. NOTE: Consult your loudspeaker specifications to determine the wiring configuration (mode) that will best suit your system.

THE S2 OUTPUT MODULE REAR VIEW — STANDARD STEREO MODE 9 Option 1 (18)

This Speakon®wiring arrangement shown below is as follows: 1+ as the channel signal output and 1as the channel chassis ground.This is the de facto standard for most low-to-medium power loudspeaker systems.This wiring allows one enclosure to be connected to Channel A and one enclosure to be connected to Channel B.The 2+ and 2- connections are not used in this application. Please notice that the binding posts on the S2 module also use the 1+ and 1- wiring arrangement.The Channel A red and black binding posts are always connected to the Channel A Speakon®1+ and 1- respectively. Similarly, the Channel B red and black binding posts are always connected to the Channel B Speakon

1+ and 1- respectively. WARNING: The S2 module is shipped with four jumpers plugged in a “storage” configuration across the nor mally unused 2+ and 2- Speakon®pins.These jumpers are used in other modes of operation following.This “storage” configuration could cause a shorting problem if a par ticular loudspeaker system’s Speakon®connectors are wired in the high current configuration outlined next (1+ and 2+ are connected and 1- and 2- are connected). In this case, we recommend that you remove the jumpers.

THE S2 OUTPUT MODULE REAR VIEW — HIGH CURRENT STEREO MODE Option 2 (19)

Many high power loudspeaker systems use the full capability of the Speakon®connector by paralleling 1+ and 2+, and paralleling 1- and 2-.This wiring improves the current handling capability of the system and reduces losses. Many subs with Speakons are wired this way. The S2 module can be rewired to this configuration using the supplied jumpers on the rear of the module. Normally, four jumpers are plugged into a “storage” configuration to prevent losing them. In this case, one jumper is connected between 1+ and 2+ and another jumper is connected between 1- and 2- for each channel.This is a total of four jumpers. The following diagram shows the new wiring of the jumpers. Notice that for this mode the binding post can still be used as normal outputs for both channels.

THE S2 OUTPUT MODULE REAR VIEW BRIDGE MODE Option 3 (20)

The following wiring allows the Speakons to be the bridge outputs with both in parallel. Such an arrangement permits two 8 ohm enclosures to be connected in parallel to the CS®-S amp in Bridge Mode. In this case, the wiring is as follows: 1+ on both connectors wired to Channel A signal output; 1- on both connectors wired to Channel B signal output; 2+ and 2- on both connectors not used.The Channel A and B chassis ground wires are not used (and are plugged into isolated floating terminals.) This wiring requires one jumper per channel for a total of two; the other two are “stored”.Please note for this wiring, both red binding posts are now connected to the Channel A output, and both black binding posts are now connected to Channel B output.Consequently, to connect additional speakers in bridge mode one must use a red and black binding post pair rather than connecting across both red binding posts as in the default arrangement.

THE S2 OUTPUT MODULE REAR VIEW BIAMP MODE Option 4 (21)

The final wiring arrangement is a natural progression of the Speakon®capability with its four wire connections. Biamping is often the preferred configuration for many sound reinforcement systems.The Speakon

pins used in the typical biamped speaker enclosure are: 1+ = LOW+; 1- = LOW-; 2+ = HI+; 2- = HI-. This is also a “standard”. In this case, two biamped wired loudspeaker enclosures can be connected to a CS-S amp via the two Speakon®connectors. First, the CS®-S amp must be configured for biamp with each channel signal supplied from a suitable crossover, and most importantly, the configuration is: Channel A as the “lows” and Channel B as the “highs”. For this mode then, the wiring is: 1+ on both connectors wired to Channel A signal output; 1- on both connectors wired to Channel A chassis ground wire; 2+ on both connectors wired to Channel B signal output; 2- on both connectors wired to Channel B chassis ground wire. This arrangement again requires two jumpers per channel for a total of four. Always check the diagram and wire the module with care. For this wiring, both red binding posts are now connected to the Channel A output, and both black binding posts are now connected to chassis ground.Thus, both binding post red/black pairs are the biamped low output, and can be used to drive additional sub enclosures, if desired.

INSTALLATION AND CONNECTION

The Peavey CS®500A commercial series power amplifier is designed for durability in commercial installations and the quality of performance required in studio and home applications.The unit is a standard rack-mount configuration, 3 1/2" high and is cooled by two variable-speed internal fans.All the input and output connections are on the back panel.The front panel contains LED indicators for power and DDT™activation, detented and calibrated sensitivity controls, and a mains power switch.

INDUSTRIAL AND COMMERCIAL INSTALLATIONS

For commercial and other installations where sustained high powered operation is required, the CS®500A should be mounted in a standard EIA 19" rack. It is not necessary to leave rack space between each amplifier in the stack, since the fan pulls air in from the rear and exhausts the hot air out the front. An adequate source of cool air must be provided for the amplifier when rack-mounted. The

internal fans must have a source of air that is not preheated by other equipment. If cool, the amplifier will star t up in low-speed fan operation, and will normally stay at low-speed operation unless sustained high power operating levels occur. As the amplifier heat sinks heat up, the automatic thermal sensing circuitry will increase the fan speed. Depending upon signal conditions and amp loading, the fan speed may increase to a maximum value, or it may decrease to a minimum value.This situation is quite nor mal.

Inadequate cooling due to preheated air, a reduction of air flow caused by blockage of the amplifier’s inlet/outlet por ts, or severely overloading the amp may cause the amplifier’s thermal sensing system to temporarily shut down that par ticular channel. This will be indicated by the channel power LED on the front panel ceasing to illuminate.Depending upon available cooling air, operation will be restored to that channel relatively quickly, and the power LED will then be illuminated. Corrective action should be taken to determine the cause of the thermal shutdown. If the amplifier is not severely overloaded or shorted, and air flow is normal in and out of the unit, steps should be taken to provide a cooler environment for all the amplifiers. As a general rule, electronic equipment in a cooler environment will have a longer and more useful service life.

STUDIO INSTALLATION

In most low- to medium-power applications, the CS®500A can be mounted in any configuration. It is desirable that, if at all possible, the unit be located at the top of an equipment stack.This will prevent possible overheating of any sensitive equipment by the hot air rising from the power amplifier.As a general rule, most home and studio requirements will never cause maximum high speed fan operation. If it does, however, this may indicate that you have not taken the necessar y steps to provide adequate cooling. Remember, closed up in a cabinet, the CS

500A will have severe cooling problems, even at low power levels. Again, inadvertent short circuit or

sustained overloaded usage could also cause temporary thermal shutdown.

BRIDGE MODE

The bridge mode on stereo amplifiers is often misunderstood as to its actual operation and usage. In basic terms, when a twochannel amplifier is operated in bridge mode, it is converted into a single channel unit with a power rating equal to the sum of both channels’ power ratings, at a load rating of twice that of the single channel rating. In this case, the CS™500A is rated at 250 W RMS per channel into 2 ohms.The bridge mode ratings are 500 W RMS into 4 ohms (minimum load). The br idge mode operation is accomplished by placing the mode switch into the bridge position, connecting the load between the red binding posts of each channel, and then using Channel A as the input channel. All Channel B input functions are defeated.

Often sound technicians use bridge mode operation to drive sound distribution systems in very large public address applications. Unfortunately, due to power levels involved, the CS®500A power amplifier can only supply about 45 V RMS in br idge mode, and therefore cannot successfully drive 70-volt systems directly without using expensive matching transformers.

DDT

™

Peavey’s patented DDT™compression system enables the sound technician to maximize the performance of the amplifier/speaker combination by preventing the power amp from running out of headroom (clipping). This system is activated by unique circuitry that senses signal conditions that might overload the amplifier. The circuitr y will reduce the amplifier’s gain whenever clipping is imminent. The threshold of compression is clipping itself and no specific threshold control is used.This technique effectively utilizes every precious watt available for the power amplifier to reproduce the signal, while at the same time minimizes clipping and distortion, and thus significantly reduces the potential of loudspeaker degradation and damage.The DDT™system is an automatic, hands-off approach to the problem of power amplifier clipping.

Since the CS®500A power amplifier uses a circuit breaker for over-current protection, the DDT™compression system plays even a more important role in the continuous performance by preventing each channel from clipping and overloading. Continuous operation at clipping can cause the circuit breaker to trip, but with the DDT activated this problem is minimized. For this reason, you should always have the DDT system enabled.

MUSIC POWER (IHF-202): (Typical value, 120 VAC, 60 Hz)

Stereo mode, both channels driven, 20 mS burst

2 ohms, 1 kHz, 1% THD: 400 W RMS per channel 4 ohms, 1 kHz, 1% THD: 275 W RMS per channel 8 ohms, 1 kHz, 1% THD: 165 W RMS per channel

Bridge mode, mono:

4 ohms, 1 kHz, 1% THD: 800 W RMS 8 ohms, 1 kHz, 1% THD: 550 W RMS

CONTINUOUS POWER: (Typical value, 120 VAC, 60 Hz)

Stereo mode, both channels driven

2 ohms, 1 kHz, 1% THD: 250 W RMS per channel 4 ohms, 1 kHz, 1% THD: 200 W RMS per channel 8 ohms, 1 kHz, 1% THD: 130 W RMS per channel

Bridge mode, mono:

4 ohms, 1 kHz, 1% THD: 500 W RMS 8 ohms, 1 kHz, 1% THD: 400 W RMS

RATED POWER: (120 V AC, 60 Hz)

Stereo mode, both channels driven

4 ohms, 10 Hz to 20 kHz, 0.03% THD:

190 W RMS per channel

8 ohms, 10 Hz to 20 kHz, 0.02% THD:

120 W RMS per channel

POWER SUPPLY DYNAMIC HEADROOM (IHF-202)

Stereo mode, both channels driven, 20 mSec burst

2 ohms, 1 kHz: +2.04 dB 4 ohms: 1 kHz: +1.38 dB 8 ohms: 1 kHz: +1.04 dB

POWER BANDWIDTH:

Stereo mode, both channels driven

@ rated power, 4 ohms, <0.1% THD: 10 Hz to 50 kHz

TOTAL HARMONIC DISTORTION:

Stereo mode, both channels driven

10 Hz to 20 kHz, 4 ohm @ rated output: Less than 0.03%

HUM and NOISE:

Stereo mode, both channels driven, 30 kHz BW, unweighted

Below rated output power, 4 ohms: Greater than 100 dB

DAMPING FACTOR:

Stereo mode, both channels driven

8 ohms, 100 Hz: Greater than 300

INPUT SENSITIVITY and IMPEDANCE:

Input attenuator set @ FCW

@ rated output power, 4 ohms: 1.0 V RMS (0 dBV), Phone jack impedance: 20k ohms unbalanced XLR impedance: 10k ohms per leg, balanced

CHANNEL VOLTAGE GAIN:

Input attenuator set @ FCW

Stereo mode, 4 ohms, 1 kHz: +29 dB Bridge mode, 8 ohms, 1 kHz: +35 dB

FREQUENCY RESPONSE:

Stereo mode, both channels driven

+0, -1.0 dB @ 1 W RMS, 4 ohms: 3 Hz to 60 kHz +0, -0.1 dB @ rated output, 4 ohms: 20 Hz to 20 kHz

SLEW RATE:

Stereo mode, each channel: Greater than 40 V/uS Bridge mode, mono: Greater than 80 V/uS

SQUARE WAVE RESPONSE:

Stereo mode, 4 ohms, 80 V P-P output

100 Hz waveform tilt: Less than 5 volts 10 KHz waveform rise-time: Less than 2 uS, 0% over-shoot

PHASE DISTORTION:

Stereo mode, 4 ohms @ rated power

20 Hz leading waveform: Less than 6 degrees 20 KHz lagging waveform: Less than 15 degrees

POWER CONSUMPTION:

Stereo mode, both channels driven

@ rated output power, 4 ohms: 5 A @ 120 VAC

COOLING SYSTEM:

Dual continuously variable speed DC fans

DDT

COMPRESSION SYSTEM:

Automatic, switchable with LED indicator

DIMENSIONS and WEIGHT:

Height: 3.75" (9.53 cm) Width: 19" (48.3 cm) Depth: 16.88" (42.88 cm) Weight: 30.3 lbs. (13.74 kg)

CS¨500A SPECIFICATIONS

Specifications subject to change without notice.

ESPA„OL

AMPLIFICADOR DE POTENCIA CS®500A

Felicitaciones por su compra del nuevo amplificador de potencia estereofónico CS

500A. Esta última versión es la más avanzada existente, ya que utiliza una fuente de alimentación con tecnología analógica de vanguardia que le permite proporcionar alta fidelidad y un rendimiento tan sólido como una roca en una unidad que sólo ocupa dos lugares en el bastidor: el her mano menor del antiguo CS

800S. Este nuevo diseño retiene la capacidad extendida de rendimiento del antiguo CS®400X, brinda una muy sorprendente potencia de salida en dos ohmios y mantiene las antiguas potencias en 4 y 8 ohmios con las imponentes especificaciones que son norma en la industria para ancho de banda de potencia, velocidad de transición y distorsión. A continuación se detallan las nuevas especificaciones del amplificador de potencia CS®500A:

• Potencia musical: 275 Wefen 4 W, 400 Wefen 2 W (por canal)

• Potencia musical: 550 Wefen 8 W, 800 Wefen 4 W (puenteada)

• Potencia continua: 200 Wefen 4 W, 250 Wefen 2 W (por canal)

• Potencia continua: 400 Wefen 8 W, 500 Wefen 4 W (puenteada)

• Velocidad de transición: 40 V/microsegundo, modo estereofónico, cada canal

• Ancho de banda de potencia: 10 Hz a 50 kHz en 4 W, a potencia nominal

• Distorsión armónica total: Menor que 0,03%, a potencia nominal

• Zumbido y ruido: 100 dB por debajo de la potencia nominal, sin ponderación

• Factor de amortiguamiento: Mayor que 300 a 8 W, 100 Hz cada canal

Se utilizan dos transformadores analógicos de servicio pesado para proveer una capacidad de potencia extremadamente alta. Estos transformadores fueron diseñados para instalarse convenientemente en una unidad convencional que ocupa dos espacios en el bastidor.Además, la fuente de alimentación se diseñó para producir un valor de tensión sin carga más alto que el habitual y cuenta con dos capacitores electrolíticos cuyo tamaño es también mayor que el nor mal. Esta combinación genera una fuente de alimentación con un alto valor de tolerancia dinámica hasta el recorte de la señal (DH) de más de +2 dB. Es así como este valor DH producirá una imponente capacidad de salida de “potencia musical”, que resulta en un amplificador de potencia que “suena” mucho más alto que lo que uno esperaría de una unidad típica de 200 Wef por canal. La fuente incluye un sistema de monitoreo térmico que protegerá la unidad de las sobrecargas excesivas y las temperaturas operativas extremas. El nuevo amplificador de potencia CS

500A retiene el sistema de compresión Peavey DDT™patentado que prácticamente elimina toda posibilidad de recorte de señal. El diseño del nuevo panel posterior incluye módulos enchufables, tanto para las entradas como las salidas, que aumenta así la flexibilidad para conexiones temporales y diferentes alter nativas de conectores. Los dos ventiladores de CC de velocidad variable proveen una enorme capacidad de enfriamiento cuando sea necesario.

CARACTERÍSTICAS DEL AMPLIFICADOR

• Dos espacios de alto en el bastidor… menos de 43,18 cm de profundidad

• Sistema de compresión DDT™avanzado

• Entradas modulares enchufables

• Enchufe hembra doble XLR (equilibrado)/telefónico (no equilibrado) con salida “pasante” por canal

• Módulos separadores de frecuencia universales de dos y tres vías disponibles como opciones

• Otros módulos especiales disponibles como opciones

• Salidas modulares enchufables

• Enchufe hembra telefónico doble y borne de 5 vías por canal

• Conectores Dual Speakon®y borne de 5 vías por canal disponible como opción

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