Peavey X-Eight HS, X-Eight RT User Manual

owner’s manual

X-Eight HS and RT mixing consoles

X-Eight owner’s manual

HS block diagram

2

5

5

1

3

7

7

1
2

3
4
5

groups HS p. 41

groups RT p. 59

master HS p. 73

6

master RT p. 101

7

micro muting system p. 125

8

power supply p. 141

stereo inputs p. 25

mono inputs p. 7

table of contents

X-Eight owner’s manual

RT block diagram

OFF

SCL+

∑

Ø

1+8234

LINE 1 IN

L

R

L

R

L

R

L

LF

2

4

6

6

1

7

7

Σ

Σ

POST FADER CTRL

FDR

Σ

Σ

MUTE SCENE SELECT

GC

P

LR

how to use this manual

conventions

terms

indicators or controls employed on the X-Eight console
will appear as:

TERMS

tasks

are broken down into steps

1

2

3

warnings

indicators

tips

see

see—references other sections of the manual containing

supplementary information on the current topic or a related issue

Prefered methods.
Helpful hints.
Feature insights.

+

Procedures not to attempt.
Issues or hazards to keep

in mind when operating
the equipment.

a

What to look
for on-screen.

Alerts, indicators, or
prompts that may appear.

®

p.6

X-Eight owner’s manual

mono input module

module

panel

legend

block diagram

1

p.7

mono input module

features

phantom power—+48V

48 volts DC is applied to pins 2 and 3 on the mic-input XLR con­nector. This option is used with condenser microphones and active dir ect
boxes that require an external DC voltage (phantom power) in order to
operate.

pad

The mic-input signal is attenuated by 20dB to prevent some signals
(e.g.kick drum or lead vocal) from overloading the preamp stage.The pad
is used to bring a hot mic-input signal down to a controllable level. The
20dB pad is not functional when the

LINE switch is depressed.

line

The input preamp circuit is set up to accept a mic-level signal. This
signal is brought in via the XLR mic-input connector located on the rear
panel.The 1/4" TRS input jack is disabled.

The input preamp circuit is set up to accept a line-level signal from
either the XLR mic-input connector or the 1/4" TRS input jack,both locat­ed on the rear panel.

When a plug is inserted into the 1/4" TRS input jack, the XLR mic-input
connector is disabled.

polarity reverse—ø

This feature is used for correcting or minimizing polarity and phase relat­ed errors. For example, occasionally a balanced input connection is
reverse-wired before it gets to the mixing console. This can happen in
microphones,or in snake line interfaces.By using the polarity reverse fea­ture,this type of error can be corrected.

polarity inverted

polarity not inverted

If the channel peak
LED is illuminated,
first try lowering
the input gain control.

Only when this method is
unsuccessful should the pad
switch be engaged.

+

If the 48V phantom
power switch is
engaged, depressing this
switch disconnects phantom
power from the mic input
XLR.

+

1

When similar signals
from different chan­nels are combined, phase
cancellations can occur.

Reversing the polarity of an
input signal often corrects
such phasing errors.

+

The 48V switch should
not be engaged when
using standard (dynamic)
microphones, or other
sources that do not use
phantom power.

a

p.8

X-Eight owner’s manual

mono input module

module

panel

legend

block diagram

1

p.9

mono input module

features

gain

The Input gain control range is closely related to the status of the

PAD

switch and the

LINE switch. In order to establish proper gain structure in

the console,input gain settings must be set correctly.

LINE—switch-up PAD—switch-up

15 to 75dB of gain can be added the mic-input signal.

The impedance at the input XLR is 4kΩ.

LINE—switch-up PAD—switch-down

-5 to 55dB of gain can be added to the mic-input signal.
The impedance at the input XLR is 4kΩ.

LINE—switch-down PAD—switch-up or -down

-10 to 45dB of gain can be added the line-input signal.
The impedance at the input XLR and input 1/4" TRS is 20kΩ.

high-pass filter—HPF

Proper use of the high-pass filter reduces or eliminates unwanted low fr e­quencies without substantially affecting the program material.Quite often
such unwanted low frequencies are included with in-coming mic- or line­input signals.For example,stage rumble or wind can be picked up through
vocal mics.The slope of the high-pass filter is 12dB per octave.

HPF

High-pass filter is on.

HPF—variable control

When the high-pass filter is on, this control selects a frequency

between 20Hz and 400Hz as the point where attenuation begins.

1

If the channel peak
LED is illuminated,
first try lowering
the input gain control.

Only when this method is
unsuccessful should the pad
switch be engaged.

+

1

p.10

X-Eight owner’s manual

mono input module

module

legend

block diagram

panel

p.11

mono input module

EQ features

Many audio signals coming into the console require some degree of cor­rective eq in order to be part of a good sounding mix.

The input eq consists of four-bands: high, high-mid, low-mid and low.
The high and low bands hav e fixed frequencies while the high-mid and low­mid bands are sweepable,with their higher and lower frequencies over­lapping adjacent bands.

high frequency—HF

15dB boost and cut at 12kHz—Shelving Response.

high-mid frequency—HM

15dB boost and cut.

Selectable frequency range of 400Hz to 8 kHz.
The response is bell-shaped with a fixed Q of 1.5

low-mid frequency—LM

15dB boost and cut.

Selectable frequency range of 80Hz to 2kHz.
The response is bell-shaped with a fixed Q of 1.5

low frequency—LF

15dB boost and cut at 80Hz.
The boost response is bell-shaped and the cut response is shelving.

eq on

Equalizer is on. This switch can be used to make A/B comparisons
between "flat" and eq'd signals.

1

1

p.12

X-Eight owner’s manual

mono input module

module

panel

block diagram

p.13

mono input module

aux send features

Eight auxiliary

AUX SENDS are available for creating individual output mix es.

These mixes can be used for driving effects pr ocessors,providing monitor
mixes, creating broadcast or alternate sound reinforcement mixes, or
other special requirements.

aux sends 1–8

These knobs adjust the amount of signal sent to the AUX buses.

Unity gain occurs at the zero setting.

AUX 6 and 8 controls pan function

when selected for stereo operation.

aux 1–4, 5/6 and 7/8 pre-fader—PRE

The default signal source for the AUX SENDS is post-fader.These switches
are used for selecting the pre-fader signal for their respective auxes. The
pre-fader signal is derived post-mute and post-eq.

see—internal jumper options

AUX SENDS

are post-eq,post-mute,and post-fader.

AUX SENDS are post-eq,post-mute, and pre-fader.

aux stereo 5/6 and 7/8

The default configuration for

AUX

5,6,7 and 8 is mono,as with AUX 1–4.

In situations where stereo-aux signals are required (such as driving stereo
in-ear monitors or effects processors),these switches reconfigure the

AUX

SENDS

to operate in stereo by changing the functions of the potentiometers.

AUXES are configured as individual mono sends.

AUXES are configured as level and pan for stereo operation.

1

1

p.14

X-Eight owner’s manual

mono input module

module

panel

block diagram

p.15

mono input module

bus assignment features

The Input bus assignment section offers considerable flexibility for creat­ing what eventually becomes the main output mix.Such features as

LCR,

GROUP PAN ON

and eight-individual group assignments allow several
approaches to building the desired mix.All assignments are derived post­fader, post-eq,and post-mute.

left-center -right—LCR

This feature is used to precisely position a signal in a sound system with a
center speaker cluster in addition to left and right clusters.The

PAN control

becomes an integral part of how the input-signal is sent to the

LEFT,CEN-

TER,and RIGHT outputs.

The post-fader signal is assigned to the

LEFT,RIGHT

,and MONO/

CENTER

buses.Relative amounts of the signal fed to each bus is determined by the
position of the

PAN contr ol.

pan control

The pan control positions the signal within the stereo left/right field,
(or between left/center or center/right in

LCR mode).The signal must be

assigned to either LCR or the L-R bus for the pan control to have any
affect.

see—left-center -right

safe preview—LED

Green steady
This means that the mute function is in safe-mode.If the channel is part
of a mute scene,it will not be activated when the scene is recalled.The
local mute function operates normally regardless of whether or not the
channel is in safe-mode.

Green flashing
The micro mute system is in edit-safe mode,and the channel is included
in the safe-scene.Pressing the local mute button will include or exclude
the mute from the safe-scene.

Pressing the edit-safe button in the micro channel section will r emov e the
console from edit-safe setup mode and save any changes that have been
made to the safe-scene. At this point, the green-

LED will stop flashing.

The green-

LED will light steadily if the channel is part of the safe-scene, or

extinguish if it is not part of the safe-scene.

1

When in safe-mode,
a channel will not
accept commands for any
external source.

Commands sent from the
master onboard processor
and any external MIDI
device will also be ignored.

+

green-LED status

flashing green

edit-safe mode
channel included in safe-scene

steady green

part of the safe-scene

no light

not part of the safe-scene

®

LED

LED

1

p.16

X-Eight owner’s manual

mono input module

module

panel

block diagram

p.17

mono input module

bus assignment features

safe preview—LED

Red steady
This indicates that the mute has been activated by the micro mute sec­tion and is part of the current mute scene.

Red flashing
This indicates that the micro mute system is in edit-preview mode and
the channel is part of the mute scene that is currently being created or
edited.Pressing the local mute button will include or exclude the channel
from the selected mute scene.

Pressing the edit-preview button (

LED-off) in the micro mute section will

remove the console from edit-preview mode and save any changes that
have been made to the selected m ute scene. At this point,the red-

LED will

stop blinking.
The red-

LED will light steadily if the channel is part of the active mute

scene,or extinguish if it is not part of the active mute scene.

see—microprocessor muting

mute

The Mute switch has three functions:

1 It acts primarily as a local mute switch by activating and deactivating the

mute. When any mute is activated locally,it will remain muted until it is
deactivated locally regardless of whether or not the mute is part of the
safe-set or an active mute scene (or a mute scene that has been made inac­tive).

2 It is used in creating and editing mute scenes when the micro-

processor mute section is in edit-preview mode.

3 It is used for including and excluding the mute in the safe-set when the

microprocessor mute section is in edit-safe mode.
This switch is illuminated whenever the channel is muted.

see—microprocessor muting

write-in label

This label may be written on with a grease-marker,and later wiped clean
with a cloth moistened with isopropyl/rubbing alcohol.Masking tape may
also be placed on this surface,if desired.

1

red-

LED status

flashing red

edit-preview mode
channel in mute scene

steady red

part of active mute scene

no light

not part of mute scene

®

LED

LED

1

p.18

X-Eight owner’s manual

mono input module

module

panel

block diagram

p.19

mono input module

level meter features

level meter

Each input includes a five-segment

LED meter

for visually monitoring signal levels.This is essential f or setting up and main­taining proper gain structure.

peak indicator—PK

The input signal is monitored at several points throughout the chan­nel. These points are the mic preamp, the EQ stage and the fader stage.
Overloads at any of these stages will cause the red peak-

LED to light.

Then the channel gain should reduced.

signal level LED’s

These three LED's light up at +8—yellow, 0—green, and -6 dB—
green. This level range -6 to +8 is the optimum operating range.

Compressed or relatively constant signals should remain close to 0.

signal present indicator—SIG

This green-LED varies in brightness in response to signal levels
between -40 dB and -6 dB.

Occasional flashing of the
peak LED is acceptable,
but frequent flashes indi­cate that channel levels
must be lowered.

®

1

If the channel peak
LED is illuminated,
first try lowering
the input gain control.

Only when this method is
unsuccessful should the pad
switch be engaged.

+

LEDLEDLEDLEDLED

LED

LED

LED

1

p.20

X-Eight owner’s manual

mono input module

module

panel

block diagram

p.21

mono input module

bus assignment features

mono assignment—M

The signal is assigned to the discrete mono bus.
When the

LCR button is depressed,this switch is bypassed.

left / right assignment—L-R

The Input signal is assigned to the main Left and Right output buses,
deriving its signal after the channels pan system.When the LCR button is
depressed,this switch is bypassed.

pan on—groups—PAN ON

The eight

GROUP assignment switches assign the input signal in mono,

independent of the pan pot.

The eight

GROUP assignment switches assign signals as four stereo-

pairs.The

PAN control governs the stereo placement of the four stereo-

pairs,which are now configured as odd–left / even–right.
For example:

GROUP 1—left,GROUP 2—right,GROUP 3—left,GROUP4—right,

...continuing through

GROUP

8.

group 1–8 assignment

The input channel's post-fader signal is assigned to the correspond­ing

GROUP bus(es).

see—pan on—groups

input fader

The input fader is the primary level control for signals being sent to any of
the console's mix buses.The only signals not affected are

AUX sends select-

ed to be pre-fader. The fader offers greater than 80dB of attenuation and
up to 10dB of boost.Normal operation is between -10 and 0.

solo

Pressing this switch will include (illuminated) or exclude (not-illumi­nated) the input channel from the console's

SOLO system.

see—master module,solo control system

Always turn off and
disconnect the amplifi­er from mains voltage
before making audio
connections.

As an extra precaution, have
the attenuators turned down
during power-up.

+

1

1

p.22

X-Eight owner’s manual

mono input module

module

panel

block diagram

Direct

Out

I
n
s
e

r
t

Bal Line In

S
e
n
d

R
e

t

u

r

n

Bal Mic In

p.23

mono input module

rear panel features

direct out 1/4" TRS

jack

The input channel's signal is available at this output jack.The
default signal routing is derived post-fader,post-eq and post-mute.This
output jack is ground-compensated.

insert points

Separate 1/4" TRS

jacks provide the facilities for inserting an external sig-

nal processor into the signal path of the input channel.

insert send

This jack serves as an output for connection to the input of a
signal processor.The signal is derived after the mic preamp and

HPF but

before the eq section.Plugging a

1/4" TRS plug into this jack does not break

the signal flow of the channel.This output jack is ground-compensated.

insert return

The output of a signal processor is fed to this jack.It can accept
a balanced or unbalanced signal and is located pre-eq.Plugging a

1/4" TRS

plug into this jack does break the signal flow of the channel.

balanced line-in jack—Bal Line In

Line-level signals,balanced or unbalanced,may be brought into
the input channel through this jack.The

LINE switch must be depressed for

this jack to be active.

balanced mic-in xlr connector—Bal Mic In

This balanced female XLR accepts a low-impedance microphone
signal,or a line-level signal,depending on position of the LINE switch on
the front panel.

see—mono input module,phantom power,line

In situations where
the preamp circuitry is
not needed, the Insert
Return can be used as the
channel’s input.

For example, when using an
expensive tube mic preamp.

+

The insert send can
also be used as an
additional channel output
when s pre-EQ signal is
needed.

+

1

p.24

X-Eight owner’s manual

stereo input module

module

panel

block diagram

2

p.25

stereo input module

features

The stereo input module can be configured to operate as either stereo or
mono. When configured to operate in mono,many features are identical
to those of the mono input module.

line select—Line 2

This switch determines selection of input signals from the three sets of
rear panel connectors.

The channel is in

LINE 1 MODE.The signals are brought in via the left

and right line-input

XLR

s located on the rear panel.

The channel is in

LINE 2 MODE.The signals are brought in via the RCA

line-input connectors which are normalled through the

1/4" TRS

line-input

jacks.Insertion of a plug into the

1/4" jack disconnects the RCA jacks.

left and right mono-switches

These switches provide several options for configuring the stereo line­input module as a mono line-input module.

left right
Signals brought into the left and right inputs are tr eated as stereo
throughout the module.

left right
Signals brought into the left and right inputs are summed together imme­diately before the

GAIN control.The summed signal is treated as mono

throughout the rest of the module.

left right
The signal fed to the left input is treated as a mono signal throughout the
module.No signal from the right input is used.

left right
The signal fed to the right input is treated as a mono signal throughout
the module.No signal from the left input is used.

2

To avoid redundancy,
mono features will refer
back to corresponding sec­tions on the Mono module.

Descriptions given here are
specifically for the default
Stereo configuration.

+

p.26

X-Eight owner’s manual

stereo input module

module

panel

block diagram

2

p.27

stereo input module

features

input gain—GAIN

This control adjust the gain of the input preamp(s).

Both left and right input signals are affected by this contr ol.

polarity reverse—ø

This switch inverts the polarity of the right input signal in relation to the
left input signal.

see—mono input module

Polarity of the right input signal is inverted.

Polarity of the right input signal is not inverted.

high-pass filter—

HPF

The high-pass filter is activated for signals coming into both the left and
right inputs. The shelving frequency is fixed at 80Hz with a slope of 12dB
per octave.

Proper use of the high-pass filter reduces or eliminates unwanted low fr e­quencies,without substantially affecting the program material.Quite often
such unwanted low frequencies are included with in-coming mic- or line­input signals.For example,stage-rumble or wind can be picked up through
vocal mics.

2

2

p.28

X-Eight owner’s manual

stereo input module

module

panel

block diagram

p.29

stereo input module

four-band stereo

EQ features

Although left and right signals are processed separately,the parameters are
set in tandem by common front-panel controls.

see—mono input module

high frequency—HF

15dB boost and cut at 12kHz—shelving response.

high-mid frequency—HM

15dB boost and cut.

Selectable frequency range of 400Hz to 8 kHz.
The response is bell-shaped with a fixed Q of 1.5

low-mid frequency—LM

15dB boost and cut.

Selectable frequency range of 80Hz to 2kHz.
The response is bell-shaped with a fixed Q of 1.5

low frequency—LF

15dB boost and cut at 80Hz.

The boost response is bell-shaped and the cut response is shelving.

equalizer—EQ ON

Equalizer is on. This switch can be used to make A/B comparisons
between "flat" and eq'd signals.

2

2

p.30

X-Eight owner’s manual

stereo input module

module

panel

block diagram