Peavey RQ 2300 User Manual
OPERATING GUIDE
REFERENCE QUALITY COMPACT CONSOLES
RQ 2300 Series
™
RQ 2300 Series
™
2
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.
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riesgo de descarga eléctrica.
Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la
operación y mantenimiento en la información que viene con el producto.
PRECAUCION: Riesgo de descarga eléctrica ¡NO ABRIR!
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Deje todo mantenimiento en manos del personal técnico cualificado.
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este aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.
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pouvant être d’amplitude suffisante pour constituer un risque de choc électrique.
Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes
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aucune pièce pouvant être reparée par l’utilisateur. Confiez I’entretien et la réparation de l’appareil à un réparateur
Peavey agréé.
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 attentivement les avertissements supplémentaires de ce
manuel.
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™2300 Compact Console
The all new RQ™2300 Series mixer is a compact unit that can be used in sound reinforcement or
recording applications. Its low noise design and extensive list of features make it the ideal mixing
console for almost any application.
NOTE: This manual covers all RQ
™
2300 Series mixers. Differences in the various models are noted
where applicable.
GENERAL DESCRIPTION:
All RQ 2300 Series mixers share the same master section. The various models provide different
channel configurations in order to suit the needs of the user. The following features are found
throughout the series.
FEATURES:
• Balanced (XLR) and Unbalanced (1/4") Left and Right Outputs (mains)
• Balanced (XLR) and Unbalanced (1/4") Mon 1 and 2 Outputs (monitors)
• Balanced (XLR) and Unbalanced (1/4") Mono Outputs (mono mains)
• Two Effects Sends (1 and 2) each with stereo Returns (L and R)
• Mic (XLR) and Line (1/4") Inputs for all input channels
• Insert jacks (1/4") on all input channels except Super and Stereo input channels
• Pad and Polarity switches on Super Mic input channels
• Stereo (L and R) line inputs (1/4") on Stereo input channels
• PFL function on all input channels and on Monitor 1 and 2
• Low noise mic preamps on all input channels
• Mute/Peak and Signal/PFL indicators on all input channels and on Monitor 1 and 2
• Stereo LED level indicators for L/R mains
• Mute switch and 3-band EQ on each input channel
• Sweepable mid-EQ control on all input channels (except Stereo channels)
• Seperate Mic and Line Gain controls on Stereo Channels
• Stereo RCA Tape In/Out Jacks
• Stereo Headphone Output with level control
• Switchable +48 V Phantom Power with LED indicator
POWER
This section describes the application of power to your RQ Series mixer. Please note all caution
signs for your safety as well as your equipment. The following features are found on the rear
panel of the unit unless otherwise noted.
1. Removable AC Power Cord
This receptacle is for the IEC line cord (included),
which provides AC power to the unit. Connect the
line cord to this connector and to a properly
grounded AC supply. Damage to the equipment may
occur if an improper line voltage is used. (See
voltage marking on unit.) Never remove or cut the
ground pin of the line cord plug. This unit is supplied with a properly rated line cord. When lost or
damaged, replace this cord with one of the proper ratings. NOTE: FOR UK ONLYAs the colors
of the wires in the mains lead of this apparatus may not correspond with the colored markings
identifying the terminals in your plug, proceed as follows: (1) The wire which is colored green and
3
ENGLISH
1
2
yellow must be connected to the terminal which is marked by the letter E, or by the earth symbol, or
colored green or green and yellow. (2) The wire which is colored blue must be connected to the terminal which is marked with the letter N, or the color black. (3) The wire which is colored brown must
be connected to the terminal which is marked with the letter L or color red.
2. POWER:
This is the mixer’s main power switch. To turn the power on place the switch in the (|)
position. Place the switch in the (O) position to turn the power off. The power-on LED
indicator will light when the unit is on.
3. POWER LED:
This LED illuminates to indicate that power has been
applied to the unit.
INPUTS
AND OUTPUTS
You must first connect your RQ to outboard equipment in order to better understand the remaining
functions. This section describes the inputs and outputs found on the rear of the RQ Series mixer.
The channel inputs are found in the “Input Channels” section of this manual in order to help you
understand the internal signal flow of your RQ mixer.
Warning: Always connect to the following jacks while the RQ and its associated equipment
are turned off. It is also recommended to turn the Master and Monitor Faders (see “Master
Section”) completely down before the unit is turned on to ensure that any signal being applied
to the RQ mixer is defeated before the outputs.
4. RETURN INPUTS:
1/4" balanced (TRS) high impedance input for high
level signals. These are designed for effect returns,
but can be used for additional stereo inputs. The tip
is the positive input, which should also be used for
unbalanced inputs. The Left/Mono input supplies
signal to both the left and right inputs if there is no
input connected to the right input jack.
5. EFFECTS OUT:
1/4" unbalanced TS output jack of the corresponding
Effects mix. It can be used to feed an external
monitor system or effect unit.
6. MONITOR 1 OUT:
1/4" unbalanced TS and a fully balanced XLR output of the Monitor 1 mix designed to feed an
external monitor system. (The tip is positive.) The output level is set by the individual channel
Monitor 1 send controls and by the master Monitor 1 fader (33). Both outputs can be used
simultaneously.
7. MONITOR 2 OUT:
1/4" unbalanced TS and a fully balanced XLR output of the Monitor 2 mix designed to feed an
external monitor system. (The tip is positive.) The output level is set by the individual channel
Monitor 2 send controls and by the master Monitor 2 fader (34). Both outputs can be used
simultaneously.
4
4
8
5
6
7
9
3
5
8. MAIN LEFT/RIGHT OUTPUTS:
1/4" TS and a fully balanced XLR output of the Left and Right mixes. The output level is set
by the Master Left and Right Faders (35). Both outputs can be used simultaneously.
9. MAIN MONO OUTPUTS:
1/4" TS and a fully balanced XLR output of the mono mix (left/right summed). The output
level is set by the Master Mono Fader (36).
MASTER SECTION
The Master Section contains all the master level controls, effects send/return controls, headphone
and tape controls as well as the level meters. It is important that this area of the board be set up
properly in order to get the most from the Input Channel Section of your RQ.
Warning: Keep all faders at the lowest position until you are ready to set your final levels.
Having the master faders in any other position while setting up the Input Channel Section could
result in accidental signal overload and/or sudden burst of signal at high levels.
10. TAPE INPUT/OUTPUT:
The Tape Input jacks are set up for a
-10 dBV input from a stereo tape deck
or CD player. The output jacks can
provide a 0 dBu output signal to a
stereo tape deck. This output is the
same as the L/R mains.
11. TAPE TO MONITOR 1 LEVEL:
Adjusts the level of the Tape Input
signal (10) supplied to the Monitor 1
mix. This control is independent of the
Tape L/R Level.
12. TAPE TO MONITOR 2 LEVEL:
Adjusts the level of the Tape Input signal (10) supplied to the Monitor 2 mix. This control is
independent of the tape L/R level.
13. TAPE TO L/R LEVEL:
Adjusts the level of the Tape Input signal (10) supplied to the L/R mix.
14. PHANTOM POWER SWITCH:
Applies 48VDC voltage to the input XLR connectors to power microphones that require it. If
phantom power is used, do not connect unbalanced dynamic microphones or other devices to
the XLR inputs that cannot handle this voltage. (Some wireless receivers may be damaged.
Consult their manuals.) The line input jacks (38) are not connected to the 48V supply and
are safe for all inputs (balanced or unbalanced).
15. PHANTOM POWER LED:
This LED illuminates to indicate that phantom power has been switched on by the Phantom
Power Switch (14).
10
14
15
11
16
17
18
12
13
16. HEADPHONE OUTPUT:
This stereo jack (TRS) provides the signal to drive stereo headphones. The level is set by the
Headphone Level control (17). Tip= Left, Ring= Right, Shield= Ground.
17. HEADPHONE/PFL LEVEL:
Adjusts the level of the Headphone Output. The source changes from the L-R output to the
PFL mix whenever the PFL is active.
18. PFL ACTIVE:
This LED blinks when the PFL is active and its signal is overriding the standard L-R mix in
the Headphone and at the L/R meters. The signals that are present in the PFL mix can be
located by the individually illuminated channel PFL LEDs.
19. RETURN 1 TO MONITOR 1:
Sets the level of the Return 1 signal (effects)
that is added to the Monitor 1 mix. This is a
mono mix of the left and right signals.
20. RETURN 1 TO MONITOR 2:
Sets the level of the Return 1 signal (effects)
that is added to the monitor 2 mix. This is a
mono mix of the left and right signals.
21. RETURN 1 PAN:
Sets the Return1 position in the L-R stereo
field.
22. RETURN 1 TO L/R:
Sets the level of the Return 1 signal that is added to the L/R mix.
23. RETURN 2 TO MONITOR 1:
Sets the level of the Return 2 signal (effects) that is added to the Monitor 1 mix. This is a
mono mix of the left and right signals.
24. RETURN 2 TO MONITOR 2:
Sets the level of the Return 2 signal (effects) that is added to the monitor 2 mix. This is a
mono mix of the left and right signals.
25. RETURN 2 PAN:
Sets the Return 2 position in the L-R stereo field.
26. RETURN 2 TO L/R:
Sets the level of the Return 2 signal that is added to the L/R mix.
27. EFFECTS 1 SEND:
Adjusts the level of the Effects 1 mix sent to the Effects 1 Output (5). Unity gain is at the
center detent position and +10 dB of gain in maximum.
6
25
24
26
23
28
29
27
19
20
21
22
28. EFFECTS 2 SEND:
Adjusts the level of the Effects 2 mix sent to
the Effects 2 Output (5). Unity gain is at the
center detent position and +10 dB of gain in
maximum.
29. LED METERS:
Two 12-segment LED arrays monitor the
levels of the main L/R outputs. The 0 dB
reference level corresponds to +0 dBu at the
1/4" jacks and XLR. (See 8.)
30. MONITOR PEAK LED:
Indicates that the monitor mix level is nearing
the overload point. It illuminates at +19 dBu
and warns that gain or EQ boost should be
reduced. There is roughly 2 dB of headroom
remaining when it lights.
31. MONITOR SIGNAL/PFL LED:
Normally indicates that a signal is present in the monitor of –20 dBu or greater. If the
Monitor PFL switch (32) is depressed, it lights continuously to indicate that the monitor
mix has been assigned to the PFL mix.
32. MONITOR PFL Switch:
Connects the monitor’s pre-fader signal to the PFL mix and switches the headphone source
from the L/R mix to the PFL mix.
33. MONITOR 1 FADER:
Sets the overall level of the monitor signal that is sent to the Monitor 1 Output jacks (6). The
optimum setting for this control is the “0” (unity gain) position.
34. MONITOR 2 FADER:
Sets the overall level of the monitor signal that is sent to the Monitor 2 Output jacks (7). The
optimum setting for this control is the “0” (unity gain) position.
35. MASTER LEFT/RIGHT FADERS:
Master L/R level controls. Since the tape and headphone outputs come from this mix, they
will also be affected by its adjustment. The output levels are monitored by the left and right
meters. The optimum setting for this control is the “0” (unity gain) position.
36. MONO OUTPUT FADER:
Sets the output of the Mono (L+R) signal found at the Mono Output (9).
7
34
33
30
31
32
35
36
INPUT CHANNELS
This section describes the many features found on the input channels. The RQ Series mixer you
have purchased utilizes multiple channel configurations. Some channels do differ from others. It is
important that you recognize these differences in order to take advantage of each channel’s features
and avoid confusion.
Channel Functions 1 — 6 (RQ 2310), 1 — 10 (RQ 2314) and 1 — 14 (RQ 2318):
37. MIC INPUT:
XLR balanced low impedance channel 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 +10 dBu
can be accommodated.
38. LINE INPUT:
1/4" balanced (TRS) high impedance input for high level signals. The tip
is the positive input, which should also be used for unbalanced inputs.
This input is connected through a 20 dB pad to the MIC input
(37). The two inputs cannot be used simultaneously.
39. INSERT: Channels 1 — 4 (RQ 2310), 1 — 8 (RQ 2314) and 1 — 12 (RQ 2318)
1/4" stereo (TRS) jack which allows an external device to be inserted into the
signal path before the tone equalization. The tip carries the send signal; the ring is
the return input. A switch in the jack normally connects the send to the return until
a plug is inserted. When plugged in partway (first click), the jack can be used as a
pre-amp output without interrupting the channel.
40. GAIN:
Varies the input gain to allow for a wide dynamic range. It affects both the Line
and Mic inputs (Channels 1 — 6). Proper adjustment of the input gain will
maximize the signal-to-noise ratio. It should be set by depressing the PFL switch
(53) and adjusting it for a 0 dBu level at the L-R meters. At this point there is
22 dB of headroom remaining.
41. 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.
42. MID EQ:
A bandpass (peak/notch) type of active tone control that varies the midrange
frequency levels +/-15 dB. On the first six channels of the RQ 2310 (first 10
channels - RQ2314, first 14 channels - RQ2318), the frequency of the boost or cut
is set by the Mid Frequency control (43). The other channels have a fixed
frequency of 850 Hz.
43. FREQUENCY (Not found on Stereo Mic Channels):
Sets the frequency affected by the Mid control (42). The range is 200 Hz to
6000 Hz.
8
40
41
42
43
44
45
46
47
48
49
50
51
53
54
52
39
38
37
44. 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.
45. MON 1:
Adjusts the level of the channel signal (pre-EQ) that is added to the Monitor 1 mix. This is a
mono mix of the left and right signals in the stereo channels. The center detent is the unity
gain position.
46. MON 2:
Adjusts the level of the channel signal (pre-EQ) that is added to the Monitor 2 mix. This is a
mono mix of the left and right signals in the stereo channels. The center detent is the unity
gain position.
47. EFFECTS 1:
Adjusts the level of the channel signal that is added to the Effects 1 mix. It is post-fader,
designed for use as an effects send, that can also be used for another monitor send. This
is a mono mix of the left and right signals. The center detent is the unity gain position.
48. EFFECTS 2:
Adjusts the level of the channel signal that is added to the Effects 2 mix. It is post-fader,
designed for use as an effects send, that can also be used for another monitor send. This
is a mono mix of the left and right signals. The center detent is the unity gain position.
49. PAN:
Sets the channel's position in the L-R stereo field.
50. MUTE:
Mutes all channel bus sends (Mon1, Mon2, EFX 1,EFX 2, Left and Right) when depressed.
The PFL signal is independent of this switch, and can be used to check the channel and
adjust its input gain even when muted. The Mute/Peak LED will glow red continuously when
the corresponding channel is muted.
51. MUTE/PEAK LED (red):
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 2 dB of
headroom remaining when it lights. If the Mute switch (50) is depressed, it lights continuously
to indicate that this channel has been muted.
52. SIGNAL/PFL LED (yellow):
Normally indicates that a signal is present in the channel of –20 dBu or greater. If the PFL
switch (53) is depressed, it lights continuously to indicate that this channel has been
assigned to the PFL mix.
53. PFL:
Connects the channel’s pre-fader signal to the PFL mix and switches the headphone source
from the L-R mix to the PFL mix. It also connects the PFL signal to the L-R meters to aid in
the setting of the input gain (40). The Signal/PFL LED will illuminate when this switch is
pressed to identify the PFL source.
9
54. FADER:
Channel output level control. The level of the channel can be adjusted from off to +10 dB of
gain. The optimum setting is the “0” (unity gain) position.
Channel Functions 5 — 6 (RQ 2310), 9 — 10 RQ 2314 and 13 — 14 (RQ 2318):
In these two channels all controls are identical to the previous channels with the exception of the
insert jack. It is replaced by pad and polarity switches.
55. PAD:
When pressed it 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.
56. POLARITY:
When pressed it reverses the phase of the input signal. This will
compensate for an out of phase input that would otherwise cause
frequency cancellations in the mix. (Often needed for drum mics where
both sides of the drum head are picked up in multiple mic situations.)
Channel Functions 7/8 — 9/10 (RQ 2310), 11/12 — 13/14 RQ 2314 and
15/16 — 17/18 (RQ 2318):
The Mic and Line inputs of these stereo channels can be used simultaneously. The following
features are found only on the the stereo channels.
57. STEREO INPUTS:
1/4" balanced (TRS) high impedance input for high level signals. The tip
is the positive input, which should also be used for unbalanced inputs.
The Left/Mono Input supplies signal to both the left and right inputs if
there is no input connected to the right input jack. If the channel's input is
mono, the signal should be connected to the Left/Mono Input .
58. MIC GAIN:
Varies the input gain of the Mic Input 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 (53) and adjusting it for a 0 dBu level at
the L-R meters. At this point there is 22 dB of
headroom remaining.
59. LINE GAIN:
Varies the input gain of the Line Input 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 (53) and adjusting it for a
0 dBu level at the L-R meters. At this point there is 22 dB of headroom
remaining.
10
57
58
59
55
56
11
RQ™2300 COMPACT CONSOLE
Specifications:
Input Specifications:
Function Input Z Input Gain Input Levels Bal/ Connector
(ohms) Settings Min** Nominal* Max UnBal.
Min
Microphone 2.2 k Max. Gain -78 dBu -58 dBu -37 dBu Bal. XLR: Pin 1 Gnd,
(150 ohms) (58 dB) Pin 2 (+),
Min. Gain Pin 3 (-)
(10 dB) -31 dBu -10 dBu +10 dBu
Line Input 10 k Max. Gain -58 dBu -38 dBu -17 dBu Unbal. 1/4" TRS; Tip (+),
(10 k ohms) (38 dB) Ring (-),
Sleeve Ground
Min. Gain -10 dBu 10 dBu +31 dBu
(-10 dB)
Insert 10 k N/A -20 dBu 0 dBu +21 dBu Unbal. 1/4" TRS; Tip Send,
Return (0) dB) Ring Return,
Sleeve Ground
Stereo Line 10 k Max. Gain -30 dBu 0 dBu +21 dBu Unbal. 1/4" TS; Tip (+),
Input (30 dB) Sleeve Ground
Aux Returns 10 k N/A -30 dBu 0 dBu -21 dBu Unbal. 1/4" TS; Tip (+)
(0 dB) Sleeve Ground
Tape 10 k N/A -30 dBu -10 dBu +11 dBu Unbal. RCA Phono
(10 dB)
0 dBu=0.775 V (RMS)
** Min. input level (sensitivity) is the smallest signal that will produce nominal output (0 dBu) with channel and master
level controls set for maximum gain.
* Nominal settings are defined as all controls set a 0 dB (or 50% rotation for rotary pots) except the gain adjustment pot,
which is as specified.
12
Output Specifications:
Function Minimum Output Level Bal/ Connector
Load UnBal.
Ohms Min** Max
Main L/R 600 0 dBu +21 dBu Bal. 1/4" TRS: Tip (+),
Ring (-)
Sleeve Ground
0 dBu +21 dBu Bal. XLR: Pin 1 Ground
Pin 2 (+),
Pin 3 (-), (Bal.)
Monitors 600 0 dBu +21 dBu Bal. 1/4" TRS: Tip (+)
Ring (-),
Sleeve Ground
0 dBu +21 dBu Bal. XLR: Pin 1 Ground,
Pin 2 (+),
Pin 3 (-), (Bal.)
Mono 600 0 dBu +21 dBu Bal. 1/4" TRS: Tip (+),
Ring (-),
Sleeve Ground
0 dBu +21 dBu Bal. XLR: Pin 1 Ground
Pin 2 (+),
Pin 3 (-), (Bal.)
Effects 600 0 dBu +21 dBu Unbal. 1/4" Phone: Tip (+),
Sends Sleeve Ground
Channel 600 0 dBu +21 dBu Unbal. 1/4" TRS: Tip Send,
Insert Send Ring Return,
Sleeve Ground
Headphone 8 0 dBu +21 dBu Unbal. 1/4: TRS: Tip Left,
(No load) Ring Right,
Sleeve Ground
Tape 2.2 k 0 dBu +21 dBu Unbal. RCA Phono
0 dBu=0.775 V (RMS)
13
Gain:
Mic Input Gain Adjustment Range: 10 dB to 58 dB
Mic Input to L/R Balance Output 78 dB (Max. Gain)
Mic Input Longest Path 91 dB (Max. Gain)
Line Input Gain Adjustment Range: -10 dB to 38 dB
Line Input to L/R Bal. Output 60 dB (Max. Gain)
Line Input to longest Path 73 dB (Max. Gain)
Stereo Line Input Gain Adjustment Range 10 dB
Stereo Line Input to L/R Balance Output 36 dB (Max. Gain)
Stereo Line Input Longest Path 46 dB (Max. Gain)
Aux Return to L/R Balance Output 34 dB (Max. Gain)
Frequency Response:
Mic Input to L-R Output 11 Hz to 42 kHz +0 dB/-1 dB
Total Harmonic Distortion (THD):
<0.008% 20 Hz to 20 kHz Mic to L-R Output (10 Hz to 80 kHz BW)
Hum and Noise:
Output Residual Noise S/N Ratio Test Conditions
Ref. 0 dBu
Master L/R -100 dBu 100 dB All faders down
-88 dBu 88 dB Master fader nominal,
Channel faders down,
All channels muted
-84 dBu 84 dB All controls nominal,
mic gain min.
Mono -100 dBu 100 dB All faders down
-88 dBu 88 dB Master fader nominal,
Channel faders down,
All channels muted
Monitors -102 dBu 102 dB All faders down
-90 dBu 90 dB Master fader nominal,
All channels muted
Effects -95 dBu 95 dB All controls off
Sends
-82 dBu 82 dB All channel sends nominal
(Hum and Noise Measurements: 22 Hz to 22 kHz BW)
Equivalent Input Noise (EIN):
-129 dBu (Input terminated with 150 ohms)
Crosstalk:
>70 dB Adjacent Input Channels @ 1 kHz
>70 dB Left to Right Outputs@ 1 kHz
Common Mode Rejection Ration (Mic Input):
50 dB min. (20 Hz to 20 kHz)
70 dB type @ 1 kHz
Meters:
12 segment, peak reading
(0 dB=0 dBu)
Signal/Overload Indicators:
Red LED lights 2 dB below clipping
Dimensions (H x W x D):
RQ 2310: 4.450" x 16.158" x 18.930" (11.30 cm x 41.01 cm x 48.08 cm)
RQ 2314: 4.450" x 20.158" x 18.930" (11.30 cm x 51.20 cm x 48.08 cm)
RQ 2318: 4.450" x 24.158" x 18.930" (11.30 cm x 61.36 cm x 48.08 cm)
Weight:
RQ 2310: 13.7 lbs. (6.21 kg)
RQ 2314: 16.7 lbs. (7.57 kg)
RQ 2318: 19.7 lbs. (8.93 kg)
Power Requirements:
RQ 2310 Channels: Dom. 120 VAC 60 Hz 25 Watts Nominal
Exp. 230 VAC 50/60 Hz 25 Watts Nominal
RQ 2314 Channels: Dom. 120 VAC 60 Hz 30 Watts Nominal
Exp. 230 VAC 50/60 Hz 30 Watts Nominal
RQ 2318 Channels: Dom. 120 VAC 60 Hz 35 Watts Nominal
Exp. 230 VAC 50/60 Hz 35 Watts Nominal
14
15
Return
RQ 2300 Series Compact Console
Hookup Diagram
2
™
CEL
2310/2314/2318
™
RQ
Send
22
™
PVM
22
™
PVM
520i
™
22
™
PVM
PreAmp
Output
112
®
Bandit
®
DeltaFex
Send
®
DeltaFex
Send
Return
Return
CD Player
215fx
™
EQ
215fx
™
EQ
PVM
Input
CH. A CH. B
Input
800s
®
CS
Output
800s
®
CS
Output
112M
™
SP
2G
™
SP
CH. A CH. B
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