Peavey UNITY 2002-12 RQ Owners Manual

COVER 4 UNITY 2002-12 RQ

COVER 4 UNITY 2002-12 RQ

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ENGLISH

GENERAL DESCRIPTION:

The Unity™ 2002-12 RQ is a twelve input compact mixer that can be used in sound reinforcement or
recording applications. It has been engineered for maximum headroom and minimum noise, with a
10 dB headroom improvement over other designs. Quality low-noise precision parts are used
throughout the mixer. Meters on the main and the monitor outputs greatly help in checking the signal
going to the power amplifiers or tape recording inputs.

1. GAIN:

Varies the input gain to allow for a wide dynamic range. It affects both the line

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and mic inputs. Proper adjustment of the input gain will maximize the signal-to­noise ratio. If the channel clip LED lights, the level is set too high and should be

reduced until it never lights.

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2. HIGH EQ:

A shelving type of active tone control that varies the treble frequency levels
+/-15 dB at 12 kHz. It is designed to remove noise or to add brilliance to the
signal, depending on the quality of the source.

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3. MID EQ:

A bandpass (peak/notch) type of active tone control that varies the midrange
frequency levels +/-15 dB at a frequency of 750 Hz.

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4. LOW EQ:

A shelving type of active tone control that varies the bass frequency levels

+/-15 dB at 80 Hz. It will add depth to thin signals, or clean up muddy ones.

5. MON A:

Adjusts the level of the channel signal that is added to the Monitor A mix. The
control is post-EQ and pre-fader, allowing channel fader adjustment without
affecting the Monitor A mix.

6. MON B:

Adjusts the level of the channel signal that is added to the Monitor A mix. The
control is post-EQ and pre-fader, allowing channel fader adjustment without
affecting the Monitor B mix.

7. EFFECTS A:

Adjusts the level of the channel signal that is added to the Effects A mix. It is
post-fader, designed for use as an effects send.

8. EFFECTS B:

Adjusts the level of the channel signal that is added to the Effects B mix. It is
post-fader, designed for use as an effects send.

9. PAN:

Sets the channel’s position in the L-R stereo field

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10. CLIP LED:

Normally indicates that the channel signal level is nearing the overload point. This circuit monitors
the input gain and equalization 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.

11. 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, but even at full gain there is 26 dBu of head­room (from nominal) available.

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12. LED METERS:

Four 12-segment LED arrays monitor the levels of the main L/R and the Monitor A and B outputs.
The 0 dB reference level corresponds to +0 dBu at the 1/4" jacks.

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13. PHANTOM POWER:

Applies 48 VDC 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 channel line input jacks
(#36) are not connected to the 48 V supply, and are safe for all inputs

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(balanced or unbalanced).

14. POWER:

The mixer’s main power switch. The power-on LED indicator will
light when the unit is powered.

15. EFFECTS MASTER:

Sets the output level of the effects mix sent to the

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output jack.

16. STEREO RETURN TO MONITOR A:

Sets the level of the Stereo Return signal (effects) that is added to the Monitor A mix. This is a mono
mix of the left and right signals.

17. STEREO RETURN TO MONITOR B:

Sets the level of the Stereo Return signal (effects) that is added to the Monitor B mix. This is a mono
mix of the left and right signals.

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18. STEREO RETURN TO L/R:

Sets the level of the Return signal (effects) that is added to the L/R mix.

19. STEREO RETURN PAN:

Determines the balance of the Stereo Return signal that is added to the L/R
mix. If the signal is mono, it sets the left-right position.

20. MONITOR FADER:

Sets the overall level of the monitor signal that is sent to the monitor output
jack. The optimum setting for this control is the “0” (unity gain) position.

21. TAPE TO MONITOR A LEVEL:

Adjusts the level of the tape signal supplied to the Monitor A mix. This
control is independent of the tape L/R level.

22. TAPE TO MONITOR B LEVEL:

Adjusts the level of the tape signal supplied to the Monitor B mix. This
control is independent of the tape L/R level.

23. TAPE TO L/R LEVEL:

Adjusts the level of the tape signal supplied to the L/R mix.

24. MASTER LEFT/RIGHT FADERS:

Master L/R level controls. Since the tape and headphone/control room
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 these controls is the “0” (unity gain) position.

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25. TAPE OUTPUT JACKS:

Provides a signal to feed a stereo tape deck or
other input. This signal is the L/R signal with the

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level set by the Tape output control. The Tape
input signal is also included, and can cause
feedback if the tape input level is turned up when
recording on a single machine.

26. TAPE INPUT JACKS:

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Receives the input from a stereo tape deck or a
CD player.

27. TAPE OUTPUT LEVEL:

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Sets the level of the L/R signal sent to the Tape
output jacks.

28. HEADPHONE/CONTROL ROOM
LEVEL:

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Adjusts the level of the headphone and outputs.
The signal is independent of the L/R master
faders (pre-fader).

29. 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 21 dBu ( 8.9 VRMS) can be accommodated.

30. 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 10 dB pad to the MIC input. The two inputs cannot
be used simultaneously.

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31. RETURN
INPUTS:

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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.

32. AUX EFFECT OUT:

1/4" TRS Output jack of the corresponding Aux
Effect mix. It can be used to feed an external monitor
system or effects unit. The level is set by the indi­vidual channel Aux Effects send and the Effects
Master controls.

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33. LEFT and RIGHT OUTPUTS:

The outputs of the Left-Right mix that are adjusted by the Left and the Right faders. These are the
main outputs of the mixer.

34. MONITOR OUT:

Output of the corresponding monitor mix designed to feed an external monitor system. The output
levels are set by the individual channel monitor send controls and by the master monitor faders.

35. HEADPHONE OUTPUT:

This stereo jack (TRS) provides the signal to drive stereo headphones. The level is set by the head­phone/control room level control (# 34). Tip = Left; Ring = Right; Shield = Ground.

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Unity 2002-12 RQ Console

Specifications:

Input Specifications:

Functions Input Z Input Gain Input Levels Bal/ Connector

(ohms) Settings Unbal
Min Min** Nominal* Max

Microphone 2.2K Max Gain -76 dBu -56 dBu -34 dBu Bal XLR Pin 1 Gnd
(150 ohms) (56 dBu) Pin 2 (+),

Pin 3 (-)

Min Gain -20 dBu -10 dBu +22 dBu
(0 dB)

Line 10 K Max Gain -64 dBu -44 dBu -22 dBu Bal 1/4" TRS; Tip (+),
(10 K ohms) (44 dB) Ring (-),

Sleeve Ground

Min Gain -8 dBu 12 dBu +32 dBu

Aux Return 22 K N/A -33 dBu -13 dBu +10 dBu Unbal 1/4" Phone
Tape 22 K N/A -23 dBu -18 dBu +10 dBu Unbal RCA Phone
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 faders set for maximum gain.
* Nominal settings are defined as all controls set at 0 dB (or 50% rotation for rotary pots) except the gain
adjustment pot, which is as specified.

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