Peavey Century User Manual

CENTURY SERIES

OWNER’S MANUAL

Congratulations on your purchase of a Century Series console. All of us at Crest Audio in Paramus, New Jersey, USA, support your decision, knowing your console contains the finest combination of design and manufacture in the industry.

While your new Century Series console is one of the most feature-packed available, great effort has been put into making it simple to operate.

This manual explains the functions of your new console, how they operate and how they relate to each other. If properly cared for, your new console will provide you with trouble-free, sonically accurate mixing clear into the next Century and beyond.

Please keep the following contact information on hand:

Crest Audio Customer Service Dept.

100 Eisenhower Drive

Paramus NJ 07652 USA

TEL 201.909.8700 FAX 201.909.8744

http://www.crestaudio.com

Crest Audio Inc.

100 Eisenhower Dr., Paramus NJ 07652 USA

TEL: 201.909.8700 FAX: 201.909.8744

http://www.crestaudio.com

Printed in USA

TABLE OF CONTENTS

Feature Overview 2

A brief description of the Vx design, features and functions.

Mixing with VCA's 3

Adapted from “Mixing with VCA's,” by Mark Smith, in LIVE SOUND! Magazine.

Wiring Conventions 5

Contains diagrams indicating how connectors for Crest consoles are wired.

Rear Connections 6

Details the rear panel input and output connections to be made to the Vx console.

Power Supply 8

A brief description of the rack-mountable Century Series consoles power supply.

Power Connections 9

A brief description of Crest console power connections.

Console Cooling 9

A brief description of the dual-fan cooling setup.

System Connections 10

Contains diagrams illustrating conventional system connections.

Input Module 12

Profiles the Vx input module. The module and rear panel are illustrated, and described.

Stereo Input Module 14

Profiles the Vx stereo input module. The module is illustrated, and described.

Optional Multi-Input Module 17

Profiles this optional double-module, which provides four stereo inputs, summed together to create a stereo sub-mix.

Group Module 19

Profiles the Vx group module. The module is illustrated, and described.

Master Section 21

Profiles the Vx master section. The modules are illustrated, and described.

Meter Bridge 23

This section profiles the Vx meter bridge. Each type of meter is illustrated and described.

Special Facilities 24

This section profiles Vx console expansion and LCR Panning

Technical Information Appendix A

Includes dimensions, specifications, console access details, user options, console block diagram, and rear panel layout.

Schematics Appendix B

Lists available console and power supply schematics.

PAGE 1

Feature Overview

The Century Series has the audio quality, features, and functions demanded by the modern music professional. The Vx is the first Crest Console to use VCA's, includes all of the basic features found in other Century Series consoles and adds an extensive meter bridge and a set of advanced new features to accommodate more demanding applications.

CENTURY SERIES

Vx features:

• Mixing flexibility via 8 conventional Audio Groups & 8 VCA Groups, permitting enhanced Mix Integrity, Wet / Dry Blending, and True Post Effect Sends.

• 4 Scene Mutes, designed to mute both pre- and post-fader input channel signals including those Aux sends used as monitors. When muted, PFL circuitry, Peak, Level, and Dynamic Signal Present LED indicators remain fully operational..

• Comprehensive Meter bridge provides signal level metering of LEFT, RIGHT, CENTER/MONO, SOLO LEFT, SOLO RIGHT, and 8 SUBGROUPS. The LEFT, RIGHT, CENTER/MONO and SOLO meters are of a larger size and are centered on the meter bridge. For 64 and 52 positions frames sizes only, metering is also provided for the 8 AUX SENDS. All level meters are of the mechanical moving coil type, are referenced to +4 dBu, and are illuminated by long-life LED’s.

• 8 Matrix Outputs Standard, useful for the creation of independent mixes using the main outputs and External Input as signal sources.

• Discreet bus assignments and L-C-R (Left-Center-Right) panning. Input channels and Effects Returns incorporate an uncompromised bus assignment section. Features include true L-C-R panning, standard panning, clean mono bus, discrete bus assigns, and panable stereo bus assigns.

• 8 Discrete Aux Sends, each with On/Off Control & Status LED.

• Variable Hi-Pass filter on input channels allows for precise control over a signal’s unwanted low frequency content.

• Channel inserts are implemented using separate 1/4" TRS jacks for send and return. An insert switch with indicator LED allows A/B comparisons and signal processor bypass.

• Switchable Q on Hi Mid and Lo Mid EQ bands adds more flexibility to an EQ circuit that already offers four sweepable bands and selectable peak/shelving on the Hi and Lo bands.

• Each input channel features a five-segment LED array, including a signal present LED, three signal level LEDs and a peak indicator.

• SSM/PMI high-quality preamplifiers on balanced microphone/line inputs for uncompromised audio quality and reliability. All IC’s within the audio path are socket mounted for easy upgrade or service.

• 48 Volt switchable phantom power on all microphone inputs.

• Optional transformers available on all microphone inputs and on Group, Left/Right, Mono, Aux, and Matrix outputs.

• Full function SOLO monitoring system with dedicated level meters. User choice of PFL or AFL from any source, both in stereo where appropriate.

• Standard frame sizes include 32, 44, 52, and 64 positions. (20, 32, 40, and 52 inputs respectively). The Master section occupies four positions and Groups occupy eight positions.

• Any frame size may be ordered short loaded for later expansion.

• Direct access to Group Mix buses allows expander mixers to be easily patched into the console.

• Majority of audio Inputs and Outputs balanced on XLR connectors.

• Twin power supply capability with automatic changeover backup for uncompromised reliability. Second power supply optional.

• Optional Stereo Input modules available, useful for remote feeds, effects returns, and other mic or line level signals requiring stereo handling.

• Comprehensive Talkback section allows access to all primary console outputs. Additional access provided to an external location such as an on-stage monitor mixer system. External signals can also be assigned into the talkback system including Oscillator and Pink Noise source inputs.

PAGE 2

CENTURY SERIES

Mixing with VCA's (adapted from Live Sound! magazine)

An introduction to VCA's

A VCA (voltage controlled amplifier) uses a DC control voltage to attenuate or boost an audio signal. The VCA DOES NOT have Audio signal present in the fader. The fader only controls the amount of voltage (level) an input can have to a mix buss or summing amp. To get the input back out of the console, the input needs to be assigned to the Stereo Mix Buss or an Audio Group. Assigning a fader only to a VCA will not allow an input to get out of the console.

Audio Submasters DO have audio signal present in the fader.

All inputs assigned to an Audio Submaster are summed, and are useful as line-level returns and sends, and group processing. Audio Submasters are especially useful as effects returns when inputs have been exhausted.

Mix Integrity

VCA’s are useful when a mix must be brought up or down without changing the relationship between Subgroups. Depicted below is a typical mix in Mono, with the Audio Subgroups configured as follows:

1-DRUMS 2-PERCUSSION 3-GUITAR 4-BASS 5-KEYS 6-EFFECTS

7-BACKRND VOCALS 8-LEAD VOCAL Although a suitable mix has been obtained during soundcheck, during the performance the band turns up their level about +10db, and everything will need to be turned down quickly. Typically, the engineer would bring down the master or grab all 8 group faders with both hands and pull everything down. A quick listen, and a look at the relative levels of the Audio Submasters will indicate that the mix has been compromised, and the integrity of the mix will need to be restored.

This all can be easily handled with VCA’s. With inputs assigned to VCA’s, the entire band mix can be turned up or down with 1 fader. The relationship between the VCA Groups (the ‘mix’ or the ‘blend’) will remain the same, without physically moving the Subgroups, and will remain exactly the same at all levels. All that is needed is to move a “Band Master” VCA. To accomplish this, inputs would be assigned to VCA Groups. The same basic Subgroup assignments shown previously would be used in the Audio Subgroups, but with 2 major differences:

A) Group #8 is labeled BAND MASTER; B) the Lead Vocal is assigned directly to the LEFT &

RIGHT MASTERS, and is not assigned to a Group.

VCA Subgroups 1 thru 5, (not 6 or 7, and you’ll see why later) also need be assigned to VCA Subgroup 8.

What this enables is control over VCA Subgroups 1 thru 5 by using VCA Subgroup 8 as the Band Master. Once set, the entire blend (band mix) can be brought up or down by moving only VCA 8. “Mix Integrity” is now possible. Some term this as ‘poor man’s automation’, because any input assigned to VCA subgroup 8 will electronically “move” as if the faders had been physically moved.

Note that any inputs assigned to two (2) VCA Subgroups are controlled by BOTH VCA Subgroups.

True Post Effect Sends

This section will examine what happens to the effect (Aux) sends when the Audio Subgroups are used as in the example above. In this example, Aux 1 is used for the Main Reverb, Aux 2 for Drum Reverb and Aux 3 for the Delay. A Drum Solo will be employed for the example here. The effects are in Audio Group 6, making it possible to pull the effects down between songs, or if the wet / dry balance needs to changed.

The band is cooperating at this point and the Audio Submasters are back to the starting point. The drummer is about to take a big solo for the night, and it will be necessary to turn Audio Subgroup 1 up 10dB. At this point, one of two things must be done:

1) Turn up Subgroup #6 10db also to keep the reverb at the same relation it was to the “DRY” drum sound before it was turned up; OR

2) Turn up all Aux sends on the drum inputs 10dB (not desirable); OR

3) Turn up all Drum inputs 10dB on the input faders.

The reason that one of these options must be chosen is because effects busses (aux busses) do not and will never increase or decrease in level when an Audio Submaster is turned up or down. This alone is the most critical aspect of why Audio Submasters are not acceptable for controlling a mix. What has been described here is a drum solo situation; imagine the problems encountered when adding the other Submasters!

A common solution used when using Audio Submasters is to mix on the input faders. This way all effects will “follow” the moves made on the faders in direct proportion. Although it is a painful way to mix, some engineers will always mix on the input faders.

The levels of all VCA Subgroups would be set at “0dB” (nominal). This is because “0dB” is where VCA’s operate best. It is the “Unity” position. (Indicated by the "Unity" LED).

A stereo mix can be obtained immediately, because the inputs can be assigned directly to the STEREO MASTER. In addition, all “band” input faders must be DOUBLE ASSIGNED to 2 VCA Subgroups. In other words, all Band inputs assigned to

(continued on page 8)

PAGE 3

One of the major benefits of VCA’s is that any move made on a VCA Subgroup will cause all inputs assigned to that Subgroup to move in direct proportion with it. Inherently, all effects assigned (or turned up) on any input modules that are controlled with VCA’s will “follow” any moves made in the exact proportion also. If a subgroup is moved “3db”; then all effects will move “3db”. The wet/dry blend always remains the same.

Wet / Dry Blending

The word “blend”, is used to describe the relationship between the dry “mix” (all inputs minus the effects) and the wet “mix” (all the effect returns).

There is no such thing as Wet/Dry Blending when using Audio Submasters, unless mixing is done on the inputs. Any time an Audio Subgroup is moved the wet/dry blend is destroyed, as there is no Mix Integrity or True Post Effect Sends. The only true way to change the wet/dry blend would be to adjust the Master Output on any effect send. This is also an undesirable way to adjust a mix.

With VCA’s assigned as in the previous example, it is a simple task to adjust the balance between the ‘dry’ and the ‘wet’ by simply moving VCA Subgroup 6. Any moves made with the Band Master VCA (Subgroup 8) will cause everything will follow in direct proportion. The same is true for the background vocal mix (on VCA Group 7). If VCA Group 7 is moved up or down, all reverbs and delays turned up on all background vocal inputs will remain in the exact proportion you have established. Therefore, once a wet/dry blend is established, it can never be changed by moving VCA groups.

Now it is possible to mix with 4 faders, or if you will, 4 VCA’s: Lead Vocal, Background Vocals, Band and Effects. Of course, there will always be small adjustments that need to be made on the input faders from time to time to tweak a mix.

It has been suggested that when attempting to mix on VCA’s for the first time, the operator turn off the sound system and monitor with headphones. All the subtle nuances achieved can then be heard, and the ability to easily control a mix will become obvious. C

CENTURY SERIES

This “VCA Mixing” section was adapted from an article entitled “Mixing with VCA's,” written by Mark Smith, which appeared in LIVE SOUND! Magazine.

Anthony McLean is the editor of LIVE SOUND! You can contact him by Fax at (913) 677.6621, by e-mail at CIS 75300,3141 or by snail-mail at:

LIVE SOUND! Magazine 4741 Central #222 Country Club Plaza Kansas City, MO 64412-1533 U.S.A.

PAGE 4

CENTURY SERIES

Wiring Conventions

Crest consoles are wired with connectors that are used throughout the professional audio industry.

Wiring is as follows:

INPUT XLR

PIN 1 PIN 3

PIN 2

TIP - POSITIVE RING - NEGATIVE SLEEVE - GROUND

OUTPUT XLR

PIN 2 PIN 3

PIN 1

PIN 1 = GROUND PIN 2 = POSITIVE PIN 3 = NEGATIVE

TIP - LEFT RING - RIGHT SLEEVE - COMMON

Standard TRS

INPUT

Connections: Bal Input, Bal Output, Direct Out, Insert Send, Bal Insert Return, Tape In

(Tip - Ring - Sleeve)

1/4" Plug

INSERT

(Tip - Ring - Sleeve)

Headphone

Connector: Headphone Output

TIP - SEND RING - RETURN SLEEVE - GROUND

Standard TRS

(Tip - Ring - Sleeve)

1/4" Plug

Standard TRS

1/4" Plug

Connector: Stereo Input Module Insert L, Insert R

PAGE 5

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Rear Connections

The rear connections facilitate the numerous inputs and outputs necessary for successful mixing. Since the console is of little use until it is wired into a whole system, an understanding of what each input and output does is necessary before it can be properly connected. Use the descriptions and diagrams on the next two pages to plan your cabling scheme.

Levels

Unless specified, nominal levels are: O VU = +4dBu = 1.23V RMS Max Level = +28 dBu balanced, +22dBu unbalanced

Impedances

Mic In - 4kΩ Line In - greater than 10kΩ Outputs -140Ω

Input Module Connections Direct Out

This unbalanced 1/4" TRS jack delivers the direct output signal (post fader & post mute) from the associated input channel.

Insert Send

This unbalanced 1/4" TRS jack is used for sending a post-input preamp, post Hi Pass Filter, pre-EQ signal to an outboard processor. The signal at this jack is unbalanced and always active regardless of the Insert Switch setting.

DIR OUT

INSERT SEND

Stereo Input Module Insert L / Insert R

These ‘combined send & return’ female TRS jacks are used to insert effects or signal processing into the Left and Right channels of the Stereo Input module. They can also be used to bring a signal into the channel, bypassing the input preamp and gain circuit. The return input is enabled by depressing the channel Insert switch.

Bal Line In L / Bal Line In R

These balanced 1/4" TRS jacks accept balanced or unbalanced line level inputs, and delivers them into the associated (Left or Right) selector switch.

Bal Mic In L / Bal Mic in R

These female XLR connectors accept balanced microphone inputs, and deliver them into the associated (Left or Right) selector switch.

Group Module Group Bal Out

This male XLR jack carries the post-fader output signal from the associated group module.

INSERT L

INSERT R

BAL LINE IN L

BAL LINE IN R

BAL MIC IN L

BAL MIC IN R

INPUTX

Bal Insert Return

This balanced 1/4" TRS jack receives it’s signal from an outboard processor. It can also be used to bring a signal into the channel, bypassing the input preamp and gain circuit. The return input is balanced and must be enabled by depressing the channel Insert switch.

Bal Line In

This balanced 1/4" TRS jack accepts a balanced or unbalanced line level input, and delivers it to the input selector switch.

Mic In

This female XLR connector accepts balanced microphone inputs for the associated input channel.

BAL INSERT RTN

BAL LINE IN

BAL MIC IN

INPUTX

Group Ins Send

This balanced 1/4" TRS jack allows for the group signal to be sent to an effect or signal processor.

Bal Ins Return

This balanced 1/4" TRS jack allows for the return of the effected and/or processed group signal back into the associated group.

Bus In

This female XLR connector delivers the connected signal directly to the associated group bus. (Useful for connection of expander mixers)

Matrix Out

This male XLR connector delivers a balanced signal from the associated matrix.

Matrix Ext In

This balanced female XLR connector is designed to accept an external signal that is inserted into the Matrix. This level is controlled by the Matrix Ext Level control.

Aux In A/B Left/Right

These female XLR jacks (on group modules 5-8) accept signals controlled by the Stereo Aux in section (L & R Master Modules).

GRP BAL OUT

INSERT SEND

BAL RTN

VX GROUP

BUS

OUT

LEFT

EXT

AUX

M A

PAGE 6

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Master Module Connections Left/Right Bal Out

This male XLR jack delivers a balanced post-fader signal containing all signals assigned to the left and right outputs.

Mono Bal Out

This male XLR jack delivers a balanced post-fader signal containing all signals assigned to the Mono clean bus.

Ext. Talkback Out

This male XLR jack provides an external balanced signal from the selected talkback source.

Insert Send

These balanced 1/4" TRS jacks allow for the right, left, or mono signal to be sent to an effect or signal processor.

Bal Rtn

These balanced 1/4" TRS jacks allow for the return of the effected and/or processed group signal back into the right, left, or mono module.

Aux 1-8 Outputs

These eight connections provide the balanced output signals from their respective auxiliary buses.

EXT TB OUT

MONO BAL OUT

RIGHT BAL OUT

LEFT BAL OUT

Ext. Talkback In

This female XLR connector accepts a balanced signal which is assignable to any of the locations in the talkback system.

L - TAPE IN - R

When no plugs are inserted into these balanced 1/4" TRS jacks, the L - STR PGM - R signal is present. This stereo input is controlled by the Tape In section in the Master module.

L - STR PGM - R

These jacks accept external balanced stereo line level signals (Left and Right). This stereo input is controlled by the Stereo Program section in the Master module.

EXT TB IN

T A P E

M N

T R

O U T

INSERT SEND

BAL

RTN

S T R

P G

A L T

O U T

INSERT SEND

BAL RTN

A U X

O U T P U T S

INSERT SEND

BAL RTN

A U X

O U T P U T S

RIGHT

VX LEFT

MASTERVX

MONO

L - ALT OUT - R

These male XLR jacks provide an additional output point for the Left and Right bus signals. This stereo output is controlled by the Alt L/R Out section in the Master module.

L - MNTR OUT - R

These male XLR jacks provide a stereo monitor output, controlled by the Monitor Out section in the Master module.

PAGE 7

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Century Series Console Power Supply

Century Series consoles use a separate rack-mountable power supply which provides the specific voltages used by each console. Crest Consoles’ Century Series makes use of two different power supplies. All chassis sizes (32, 44, 52, 64) of the the model Vx console should only be used with the Model XCVA06 Power Supply.

Press to Reset

C O N S O L E S

Power Supply

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC

ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU Á

L'HUMIDITÉ

Designed & manufactured in the USA by:

A division of Crest Audio Inc.

100 Eisenhower Dr.

Paramus, New Jersey 07652 USA

Pin 1 +24V Pin 2 +20V Pin 3 Analog Pin 4 Analog Pin 5 Digital Pin 6 +48V Pin 7 -20V

POWER OUT

Supply Identification

The type of power supply can be identified by the model number shown on the back of the chassis and panel label.

Power Requirements

The Century Series power supplies have certain electrical requirements to operate properly. If possible the power supply should be connected to a dedicated circuit. Should any other appliance on the same circuit draw enough current to overload the circuit, the breaker or fuse will trip causing loss of power to the console. Note the maximum current draw specifications at right. Be sure that the circuit to which you connect the supply can handle the draw.

The power switch on the supply front panel is also a circuit breaker, there is no power fuse. Should the supply ever shut down, or trip at start up, simply push the switch to the off position and then on again.

Ground Linking

Safety Considerations - Each new power supply is shipped

with the AC third wire ground connected to the console chassis ground. The connection is made at the rear of the power supply unit. This is necessary for safety reasons so that exposed metal parts are grounded. In the event of a live conductor making contact with the console chassis or the power supply chassis then the current will flow to ground without a safety hazard arising. Note that when the console is disconnected from the power supply the chassis ground connection to AC third wire ground is broken and safety protection is lost. For uninterruptible grounding, in a fixed installation for example, make a connection directly to the console chassis from the safety ground. Disconnect the ground link on the rear of the power supply. This disconnects console ground from power supply AC third wire ground which would otherwise create a hum-loop.

+20V

+48V

Model XCVA04

S/N

± 20V @ 4 + 24V @ 4 + 48V @ 1 + 24V @ 6 ± 20V @ 6

Model XCVA06

CONSOLE GROUND

-20V

CHASSIS GROUND

+24V

MAXIMUM AC IN: XCVA04: 415 WATTS XCVA06: 825 WATTS

Twin Supply Operation

When twin supplies are in use for automatic back-up, then the ground links on both supplies should be fitted. In a situation where the safety ground to the console chassis has been connected and the ground path via the power supply is causing a hum-loop, then disconnect the ground links on BOTH power supplies.

Console and Power Supply Grounding

Console chassis ground is electrically connected to audio ground, pin 1 of XLR connectors and 1/4" sockets and to the terminal 'CONSOLE GROUND' at the rear of the power supply. The AC third wire connection in the power supply cable connects the metal chassis of the power supply to safety ground. This connection should never be disturbed. Hazardous voltages exist inside the power supply which require the case to be grounded. When rack-mounted, the power supply ground may transfer to the rack case thru the front fixing screws, though this connection is not reliable. When a console is configured within a complete sound system the grounding requirements may call for the ground link to be disconnected. This is permissible only when an alternative ground path has been provided. If in doubt seek the advice of an experienced electrical engineer.

Power Supply

Model

XCVA06

Serial Number Tag

Model Number

Max Current

Draw @ 120V

9 Amps

S/N

Max Current

Draw @ 240V

5 Amps

Model XCPS-40

±20V @ 4 +24V @ 4

+48V @ 1A +24V @ 6A ±20V @ 6A

XCVA06

Model

PAGE 8

CENTURY SERIES

Power Connections

Before setting up the console, always check to make sure the AC voltage marked on the power supply agrees with the local supply. Always connect the console to the power supply before switching on the power supply.

Multiple power supplies can be daisy-chained to provide failsafe protection in the event of a supply failure. When two or more supplies are used, both power supplies run all the time. In the event of supply failure, the remaining power supply(s) will take over the entire load.

NOTE: Although both of the multi-pin connectors on the back of the power supply are labeled “POWER OUT”, it is necessary (and acceptable) to link two power supplies together as shown in the diagram below.

ADDITIONAL NOTE: The multi-conductor cable used for power supply-to-power supply connection is different than that used for a conventional power supply-to-console connection, and must be specified when the second power supply is ordered.

Ground Link

To Console

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC

ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU Á

L'HUMIDITÉ

Designed & manufactured in the USA by:

A division of Crest Audio Inc.

100 Eisenhower Dr.

Paramus, New Jersey 07652 USA

Model XCVA04

S/N

± 20V @ 4 + 24V @ 4 + 48V @ 1 + 24V @ 6 ± 20V @ 6

Model XCVA06

CONSOLE GROUND

CHASSIS GROUND

MAXIMUM AC IN: XCVA04: 415 WATTS XCVA06: 825 WATTS

To AC Mains

Pin 1 +24V Pin 2 +20V Pin 3 Analog Pin 4 Analog Pin 5 Digital Pin 6 +48V Pin 7 -20V

POWER OUT

Interface Cable

POWER OUT

Pin 1 +24V Pin 2 +20V Pin 3 Analog Pin 4 Analog Pin 5 Digital Pin 6 +48V Pin 7 -20V

POWER OUT

Console Cooling

A dual-fan cooling configuration is included in all Vx consoles. Two fans (one at each end of the console) draw air in through the sides of the chassis (under the sidebars). Air is distributed through the chassis via a “vortex pan”, then proceeds up through the console modules, where the heated air exits the console chassis.

Once the console is powered up, cooling fans remain on. A rear panel switch permits the fans to be set at low, medium or high speeds.

There are no filters to change or clean. As with any console, use in dusty/unclean environments should be avoided.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC

ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU Á

L'HUMIDITÉ

Designed & manufactured in the USA by:

A division of Crest Audio Inc.

100 Eisenhower Dr.

Paramus, New Jersey 07652 USA

Model XCVA04

S/N

± 20V @ 4 + 24V @ 4 + 48V @ 1 + 24V @ 6 ± 20V @ 6

Model XCVA06

CONSOLE GROUND

CHASSIS GROUND

MAXIMUM AC IN: XCVA04: 415 WATTS XCVA06: 825 WATTS

To AC Mains

PAGE 9

CENTURY SERIES

System Connections

The console is the hub of a sound system. Because it controls most of the variables within a system, proper connection and component relationships are vital to assure accurate operation and results. The following diagrams illustrate conventional system connections.

Balanced Mic Inputs

Input Processing,

via Input Module

Insert Send and Return

Connections

CENTURY

15 20

30 40 60

Balanced Line Inputs

Keyboards,

Samplers,

Drum Machines

External Mixer

Input via Group Bus In

CENTURY

15 20

30 40 60

15 20

30 40 60

Input Connections

Aux Connections

PAGE 10

Out

From Aux 1-8 Out

MONO BAL OUT

INSERT SEND

BAL RTN

Master

LEFT BAL OUT

RIGHT BAL OUT

INSERT SEND

BAL

RTN

S T

X G M

P A

U L

S O U T

Signal Processors

GRP BAL OUT

INSERT SEND

BAL RTN

EXT TB OUT

GRP BAL OUT

EXT TB IN

INSERT SEND

BAL

RTN

BUS IN

OUT

M A T R I X EXT IN

AUX

IN A

LEFT

BUS

OUT

EXT

AUX

LEFT

T A P E

OUT

T R

M N

EXT

R O

AUX

LEFT

To Input Channels

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Peavey Century User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual