Peavey RQ 1606M User Manual

™

1606M

Reference Quality Console

OWNER’S MANUAL

Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

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.

Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” que no tiene aislamiento dentro de la caja del producto que puede tener una magnitud suficiente como para constituir riesgo de corrientazo.

Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la operación y mantenimiento en la literatura que viene con el producto.

PRECAUCION: Riesgo de corrientazo — No abra. PRECAUCION: Para disminuír el riesgo de corrientazo, no abra la cubierta. No hay piezas adentro que el usario

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.

Ce symbole est utilisé pur indiquer à l’utilisateur la présence à l’intérieur de ce produit de tension nonisolée dangereuse pouvant être d’intensité suffisante pour constituer un risque de choc électrique.

Ce symbole est utilisé pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes instructions sur l’utilisation et l’entretien (service) de l’appareil dans la littérature accompagnant le produit.

ATTENTION: Risques de choc électrique — NE PAS OUVRIR! ATTENTION: Afin de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à l’intérieur

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.

Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses warnen, die von Ausreichender Stärke sind, um einen elektrischen Schlag verursachen zu können.

Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam machen, die Handhabung und Wartung des Produkts betreffen.

VORSICHT: Risiko — Elektrischer Schlag! Nicht öffnen! VORSICHT: Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es befinden

sich keine Teile darin, die vom Anwender repariert werden könnten. Reparaturen nur von qualifiziertem Fachpersonal durchführen lassen.

ACHTUNG: Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses Gerät nicht dem Regen oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.

RQ™1606M Monitor Console

GENERAL DESCRIPTION:

The RQ™1606M compact mixer was designed to be used as a monitor console in sound reinforcement applications; it will complement any house console by expanding its monitor capabilities. The mixer’s six monitor sends and left/right outputs make it possible to use it as a house mixer with six equalized monitor sends—two can be used as effect sends by setting the pre/post switch to post.

CHANNELS:

This console has 16 input channels. All inputs feature discrete transistor, low-noise mic preamps with a 20 dB pad switch to handle any input signal level (-57 dB to +30 dB). Channels 1-8 have insert jacks, channels 9-16 have high-impedance (10 k ohm) inputs. All have three-band equalization with mid sweep, six monitor sends (four dedicated pre-fader, post EQ; two switchable pre/ post fader), mute, and PFL. An overload detector monitors three different points in each channel and lights when any point is within 2 dB of clipping, or when the mute switch is activated. The PFL logic shifts the right meter to the PFL signal to assist in setting input gains to obtain the optimum 0 dBu internal levels.

A global phantom power switch with LED indicator applies power to all XLR inputs. Each input is isolated from the others to provide protection for itself and for the front of house console, if 48 V is already present. (Phantom power should be supplied by the FOH console if at all possible for best performance and fewest problems.)

MASTER:

Each monitor output has a 100mm fader, mute, AFL, and a variable frequency low cut filter. Insert jacks are available for patching in external equalization or a compressor/limiter if required. A 12-segment peak reading, meter monitors each output.

The left and right outputs can be used for an engineer’s mix, additional monitor mixes, recording outputs, or even FOH feeds. These have their own meters and AFL switches.

Separate controls set the headphone levels and the wedge output levels. The wedge outputs automatically diminish when the talkback mic is enabled to prevent local feedback. If the left-mono jack is used without the right jack connected, it becomes a mono (mixed) signal.

The master PFL level is set by its own control; the AFL bus signal tracks the selected output and does not have a separate adjustment. If no AFL or PFL switches are pressed, there will be no signal at the headphones or at the wedge outputs. The talkback mic connector has phantom power at all times, regardless of the phantom power switch setting (necessary if the house console is supplying mic power and this mixer’s phantom switch is off). This mic signal is always sent to monitors 1-6, and can also be routed to the left and right outputs. It is live only when the enable button is held down.

All monitor and left/right sends have XLR balanced and 1/4" unbalanced outputs with electronic turn-on and turn-off muting. A PFL link connection and auxiliary monitor bus inputs are provided to allow expansion. The monitor bus inputs can also be used as line level inputs, however any level adjustments must be made externally at the sources, as there are no input level controls.

ENGLISH

CHANNEL FUNCTIONS:

1. FLS®(Feedback Locator System®) These LEDs illuminate to indicate

the channel with the highest energy which is often the channel countributing to feedback. This function is pre-fader. (NOTE: These LEDs illuminate with any audio signal, not just during feedback.)

2. 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 (#11) and adjusting it for a 0 dBu level at the L-R meters. At this point, there is 22 dB of headroom remaining. If clipping occurs at the minimum gain setting, engage the 20 dB pad (#31) located by the input jack.

3. HI EQ: A shelving type of active tone control that varies the treble frequency levels ±15 dB at 10 kHz. It is designed to remove noise or to add brilliance to the signal, depending on the quality of the source.

4. MID EQ: A bandpass (peak/notch) type of active tone control that varies the midrange frequency levels ±15 dB. The frequency of the boost or cut is set by the mid frequency control (#5).

5. MID FREQUENCY: Sets the frequency affected by the mid control (#4). The range is 100 Hz to 3,000 Hz.

6. 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.

7. MON(1-4): Adjusts the level of the channel signal (post-EQ, pre-fader) that is added to the monitor mix. The center detent is the unity gain (nominal) position.

8. MON(5, 6): Adjusts the level of the channel signal (pre-fader, post-EQ, or post-fader) that is added to the monitor mix. The center detent is the unity gain (nominal) position.

9. MON 5, 6 PRE/POST: Establishes which signal will be present on the mon 5 and 6 sends (#8). The out position picks up the signal after the tone equalization and before the channel fader (#14). The depressed position picks up the signal after the fader.

10. PAN: Sets the channel’s position in the left/right stereo field. It does not affect the monitor sends.

11. PFL: Connects the channel’s pre-fader (pre-mute) signal to the PFL mix and switches the headphone/wedge source from the AFL mix to the PFL mix. It also connects the PFL signal to the right meter to aid in the setting the input gain (#2). The PFL LED will light when this switch is pressed to identify the PFL source.

12. MUTE: Mutes all channel signals except the PFL. The PFL signal is independent of this switch and can be used to check the channel and adjust its input gain even when the channel is muted.

13. MUTE/CLIP LED: Normally indicates that the channel signal level is nearing the overload point. This circuit monitors the input gain, equalization, and post-fader stages for overload. It illuminates at +19 dBu and warns

that gain or EQ boost should be reduced. There is roughly 3 dB of headroom remaining when it lights. If the mute switch (#12) is depressed, it lights continuously to indicate that this channel has been muted.

14. FADER: Left/right channel output level control. The level of the channel can be adjusted from off to +10 dB of gain. This slider also adjusts the relative level of monitors 5 and 6 if they are set to the post-fader signal. The optimum setting is the

“0”

(unity gain) position.

MASTER FUNCTIONS:

15. PHANTOM POWER: Applies 48 V DC voltage to the input XLR connectors to power micro-

phones that require it. This power is typically supplied by the house console, but if there is no other source, it is provided here. The circuitry is protected against voltage coming from the house console, but unusual phenomenons could occur if two mixers are used to supply power. The voltage of this console has been set slightly below the normal 48 V to allow it to auto-disconnect if another source is active.

If phantom power is used, do not connect unbalanced dynamic microphones or other devices that cannot handle this voltage to the XLR inputs, including the thru connector. This may damage some wireless receivers; consult their manuals for compatibility. The high-impedance input jacks on inputs 9-16 are not connected to the 48 V supply and are safe for all inputs (balanced or unbalanced). An LED indicates that local phantom power is on.

CAUTION! When phantom power is switched on, make sure that any channel you are plugging a

mic into is muted and all monitors and auxs 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 PAand reduces the chances of the mic being damaged.

16. LOW CUT: Alow cut filter with an adjustable corner frequency (10 to 300 Hz). It is 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. To disable the filter, set it at the minimum frequency setting.

17. LED METER ARRAY: A 12-segment peak reading LED array monitors the level of the corresponding output. The 0 dB reference level corresponds to 0 dBu at the 1/4" jacks (+4 dBu at the XLR jacks). The right meter array is also used for PFL, and displays the level of the PFL mix when any PFL switch is pressed.

18. AFL: Connects the channel’s output signal (post fader) to the AFL mix. This mix is the default headphone and wedge mix. Its LED will light when this switch is pressed to identify which signals are included in the AFL mix. At least one source should be assigned, or there will be no headphone or wedge signal unless the PFL is active.

19. MONITOR MUTE: Mutes the monitor output. Its LED will light when muted.

20. MASTER FADER: Sets the overall level of the signal that is sent to the output jacks. The opti-

mum setting for this control is the “0” (unity gain) position.

21. TALKBACK LEVEL: Sets the level of the talkback mic that is sent to monitors 1-6 and the left/right (if assigned). Engaged by the enable momentary switch.

22. TALKBACK MIC INPUT: low-impedance balanced mic input with phantom power (#15). Used to communicate with stage personnel or talent.

23. TALKBACK ASSIGN: The talkback signal is always sent to monitors 1-6. This switch adds a send to the left/right.

24. TALKBACK ENABLE: Engages the talkback mic while held down. The signal is routed through the talkback assign (#23) switch and controlled by the talkback level (#21).

25. PFL LEVEL: This control sets the level of the PFL mix that is sent to the headphones and the wedge outputs when the PFL is active. In normal operation, this control is adjusted to set the PFL level to match the AFL level.

26. HEADPHONE OUTPUT: This stereo jack TRS provides drive for the headphones. The level is set by the headphone level control. Tip=Left, Ring=Right, Shield=Ground.

27. HEADPHONE and WEDGE LEVELS: Independent adjustments of the headphone and wedge outputs. The source changes from the AFL mix to the PFL mix whenever the PFL is active. If no output is assigned to the AFL mix, there will be no signal present until a channel is assigned to the PFL mix. The wedge level will diminish (-20 dB) when the talkback mic is engaged to prevent feedback.

28. PFL ACTIVE: This LED flashes when the PFL is active and its signal is overriding the standard AFL mix in the headphone and wedge outputs and at the right meter. The signals that are present in the PFL mix can be seen by the individual PFL LEDs.

BACK PANEL INPUT AND OUTPUT JACKS:

29. THRU: This is a pass-through jack wired in parallel with the input jack (non-solated and has the

same signal level). This jack also has the same phantom power that the other connector has, so use caution when connecting other equipment that could be damaged by 48 V DC. (#15)

30. LOW-Z INPUT: XLR balanced input optimized for a microphone or other low-impedance source. Pin 2 is the positive input. Because of the wide range of gain adjustment, signal levels up to +32 dBu (with pad engaged) can be accommodated.

31. 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. The high-impedance inputs (#33) are also affected.

32. INSERT (CHANNEL 1-8): 1/4" stereo (TRS) jack which allows an external device (such as a compressor or graphic EQ) to be inserted into the signal path before the tone equalization. The tip has the send signal, the ring is the return input. Aswitch in the jack normally connects the send to the return until a plug is inserted. By inserting a jack only to the first click (so that the internal switch is not engaged), a preamp direct output is available without affecting the channel’s normal operation.

33. HI-Z INPUT (CHANNEL 9-16): 1/4" balanced (TRS) high-impedance input. The tip is the positive input, which should also be used for unbalanced inputs. This input is connected to the mic input (#30) and changes the circuit’s input impedance (including the XLR) when a jack is connected. It has the same gain as the XLR input, but does not have phantom power available. The two inputs cannot be used simultaneously.

34. MONITOR OUT (XLR): Balanced output of the monitor mix designed to feed an external monitor amplifier (Pin 2 is positive). The output level is set by the individual channel monitor send controls and by the master monitor fader.

35. MONITOR OUT (1/4"): Unbalanced output of the monitor mix.

36. MONITOR LINE INPUT: This is a balanced (TRS) bus input to the corresponding monitor mix.

It can be used to expand the mixer by connecting another source (mixer or other device) here to add to the monitor

’

s mix. There are no controls for this jack (0 dBu nominal).

37. MONITOR INSERT: 1/4" stereo (TRS) jack which allows an external device (such as a compressor or graphic EQ) to be inserted into the monitor’s signal path. The tip has the send signal, the ring is the return input. Aswitch in the jack normally connects the send to the return until a plug is inserted.

38. WEDGE OUTPUTS: 1/4" unbalanced output to feed the wedge monitor amp. The signal is exactly the same as that in the headphones, but has other features. When the talkback mic is active, these outputs are diminished to prevent local feedback. If there is no plug connected into the right output jack, the left and right wedge signals are summed to mono. Wedge levels are set by the wedge control, and are independent from the headphone levels.

4041

36 35

39. PFL LINK: This is a port that makes it possible to parallel two RQ 1606M mixers, increasing the number of inputs. Ashielded stereo (TRS) cord connected between them will cause the two mixer’s PFL circuits to merge. Then any PFL switch pressed will take over the right meter of the unit supplying the signal and change the headphone/wedge source on both units.

40. MAIN OUTPUTS: 1/4" unbalanced and XLR balanced outputs of the left and right mixes. The output level is set by the master left and right faders. The XLR outputs are 4 dB higher in level than the 1/4" outputs.

41. MAIN MONO OUTPUT: 1/4" balanced (TRS) mono output representing a combination of the left and right signals.

42. AC MAINS INPUT: 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. Operate only with the specified AC input voltage applied. (See line voltage marking on unit.)

43. POWER: The mixer ’s main power switch.

TYPICAL RQ™1606M HOOK-UPS: MONITOR MIXER:

1. Connect the low-impedance microphones (or the mic connectors from the snake cable) to the

XLR inputs. Connect the thru outputs to the house console’s mic inputs. If phantom power is

required, use the power provided by the house console unless it is not available. This will

provide the best performance and cause the fewest problems. If the RQ 1606M provides the

phantom power, it will apply 48 V to all the XLR inputs which may not be desired at the other

console.

2. High-impedance inputs (synth, CD, tape, etc.) should be connected to the 1/4" Hi-Z inputs on

channels 9-16. These are balanced (TRS) and have the same gain as the XLR inputs. High

level signals will require activation of the 20 dB pad switch located by the jack to avoid

clipping.

3. Processors (EQ, delay, or compression) can be connected into the channel 1-8 inserts or to

the monitor 1-6 inserts.

4. Connect the monitor power amp inputs to the monitor outputs. Both balanced and unbalanced

outputs are provided and can be used simultaneously.

5. Connect the engineer’s mix (wedge) power amps to the wedge outputs. This is the same

signal that is at the headphones (AFL or PFL, depending on the switch settings).

6. Recording equipment or other feeds can be connected to the left/right outputs. Monitors 5

and 6 can be set post fader and can also be used for specialized outputs where fader control

is desired.

7. To slave additional monitor mixers, connect the PFL links together (parallel wired) and patch

the slave’s monitor outputs to the master monitor’s line inputs and set the output levels on

the slave to match those on the master. Either console’s PFL signal will take over the wedge

and headphone outputs of both mixers.

USING THE RQ™1606M AS A HOUSE MIXER:

1. Connect the low-impedance microphones to the XLR inputs. Any mic that requires an external

effect processor or compressor should be connected to one of the first eight inputs which

have insert jacks.

2. High-impedance inputs (synth, CD, tape, etc.) should be connected to the 1/4" Hi-Z inputs on

channels 9-16. These are balanced (TRS) and have the same gain as the XLR inputs, but do

not have phantom power available. High level signals will require activation of the 20 dB pad

switch (located by the jack) to avoid clipping.

3. Connect the monitor power amp inputs to the monitor outputs. Both balanced and unbalanced

outputs are provided and can be used simultaneously.

4. The house power amp inputs connect to the left/right (or the mono) outputs.

5. If effects are desired, set monitor 5 and 6 sends to post fader and route these monitor

outputs to the effect device’s inputs. The effect return signal must be brought back into

the monitor’s line input or into the mixer using unused input channels (9-16 have Hi-Z inputs).

Do not turn up the monitor 5 or 6 sends on these channels or feedback will result. Local

monitoring can be done with either headphones or the wedge outputs.

™

1606M LEVELS DIAGRAM

™

1606M BLOCK DIAGRAM

RQ™1606M LOW CUT ADJUST

RQ™1606M MID SWEEP

+ 28 hidden pages