Peavey XR 684 Plus, XR 684 User Manual

OWNER’S MANUAL

684/XR

684+

Stereo Powered Mixer

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XR™684/684+ Powered Sound Reinforcement Mixing Console

General Description:

Congratulations on your purchase of the XR

™

684/684+ powered mixer. Within one compact unit, we have packed feature after feature, each displaying the latest technology available. Both the XR 684 and the XR 684+ are covered in this guide. The two units share the same preamp functions. They are different only in the power amp as noted below. Throughout this manual, the term “XR 684” will refer to both units unless otherwise noted. Here are several features found on your XR 684:

• 8 low-noise, low-Z mic preamps

• 4 true high-Z 1/4" mic inputs

• 3-band equalization (Channels 1—8)

• Monitor send (each channel)

• EFX send (Channels 1—8)

• -25 dB pad (Channels 1—6)

• Low-cut filter (Channels 1—6)

• Stereo line inputs (Channels 7—9)

• 16-bit, DSP-based stereo reverb/effects with two parameter controls

• Two 9-band graphic EQs with FLS

Feedback Locating System

• 48 V phantom power

• Stereo/Main-Monitor mode switch

• 2x200 W @ 4 ohms internal power amplifier (XR 684 only)

• 420 W @ 8 ohms in bridge mode (XR 684 only)

• 2x400 W @ 4 ohms internal power amplifier (XR 684+ only)

• DDT

™

speaker protection

The standard channels (1—4) feature discrete low noise mic preamps with globally switched phantom power, true high-impedance 1/4" mic inputs, low-cut filters, and three-band EQs. Two additional channels (5—6) offer balanced XLR mic inputs and 1/4" line level inputs. Finally, there are three stereo channels (7—9) for tape, CD, or synth inputs.

The master section features a unique graphic equalizer/power amp mode switch. Without patching, the XR 684 can be used as a full stereo mixer amplifier (default). In the Main/Monitor mode, one graphic and amplifier can be used for monitor and the other graphic and amplifier for the main L and R (mono) signal.

Also included in the master section are 16 stereo digital effects from the award winning Deltafex

™

digital signal processor. By including separate Time/Size and Color/Tone controls, the user can create many effect settings from the 16 we provided. All channels, except Channel 9, have a dedicated digital effects send routed directly to the DSP effects processor.

To take advantage of the XR 684’s powerful features, please read this owner’s manual carefully and keep it as a reference. This manual includes several sections detailing individual areas of mixer operation, including: control functions, set-up, and applications in sound reinforcement.

ENGLISH

CHANNEL SECTION: CHANNELS 1-4

1. MIC INPUT: XLR balanced, low-impedance channel input optimized for a

microphone or other low-level source. Pin 2 is the positive input. Because of the wide range of gain adjustment, signal levels as high as +10 dBV (2.45 V RMS) can be accommodated. When the phantom power is enabled, this connector has +48 V on pins 2 and 3 with pin 1 as the ground reference. (The Mic Input can also be found on channels 5 through 8.)

2. HI-Z/LINE INPUT: 1/4" balanced TRS high-impedance input. The tip is the positive input, which can also be used for unbalanced inputs. APad (#3) switch is provided to attenuate strong signals present at this input. Within the same channel, the mic input and the Hi-Z/Line input cannot be used simultaneously.

3. PAD: Attenuates the input signal by 25 dB. If you find that barely touching the Level control (#4) gives you an enormous increase in volume or if distortion occurs, try using the Pad switch. In addition to increasing the dynamic range, the channel input can now accommodate a higher input level before clipping. This may be necessary with a close mic on loud guitar amplifiers or drum kits. (The Pad switch can also be found on channels 5 and 6).

4. LEVEL: Sets the signal level sent to the Left and Right bus. (The level control can also be found on channels 5 through 9.)

5. MON: Adjusts the level of the channel signal (pre-EQ) that is added to the Monitor mix. (The Monitor control can also be found on channels 5 through 9.) This control is independent of the main channel level control (#4).

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. (The low control can also be found on channels 5 through 9.)

7. MID EQ: Mid ±15 dB. This control sets the amount of cut and boost at the mid-frequency. (The mid control can also be found on channels 5 through 8.)

8. 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. (The high control can also be found on channels 5 through 9.)

9. EFX: This control varies the level into the digital effects processor bus adjusting the signal level from the particular channel to the digital processor. (The effects control can also be found on channels 5 through 8.) The channel level control (#4) also affects this level.

NOTE: Channels 5-9 contain features that differ from the previous channels. Only those features are mentioned below. For information on features not mentioned please refer to the section for Channels 1-4.

CHANNELS 5-6

10. LINE: 1/4" balanced TRS input for line level signals. This signal is connected

through a 25 dB pad to the mic input below it.

11. LOW CUT: This is a low-cut filter with a corner frequency of 80 Hz used to filter rumble, wind noise, breath thumps, stage noise, and other low-frequency components that rob power from the amplifiers and muddy the signal. Depressing this switch will affect channels 1-6 only. Use of the filter will not affect the Monitor signal.

CHANNELS 7-8

12. RIGHT INPUT: High-impedance 1/4" input for line-level signals. The Right

Input is adjusted by the Level control (#4). The signal is then routed to the internal power amp. If the XR 684 is in Left/Right mode then the signal will go to the Right Speaker Output (#37). In Mon/Main mode the signal is combined with the Left and placed on the Main Speaker Output. The right signal can also be patched out of the XR 684 via the Right Output jack (#31) to external components such as effects, power amps, and recording devices.

13. LEFT/MONO INPUT: High-impedance 1/4" input for line-level signals. The Left/Mono input supplies signal to both the Left and Right channels (if there is nothing inserted to the right input jack) through the Level control (#4). In Left/Right mode the signal will go to the Left Speaker Output (and Right Speaker Output if nothing is inserted to the right input jack). In Mon/Main mode the signal is combined with the Right and placed on the Main Speaker Output.

CHANNEL 9

14. TAPE IN: This stereo RCA phono jack accepts a stereo input (nominally

-10 dBV) from the output of a tape deck or CD player and places it on the Left and Right channels as well as the Monitor Mix.

15. TAPE OUT: This stereo RCA phono jack provides a signal for the recording inputs of a stereo tape deck.

CAUTION: DO NOT HOOK THE TAPE IN AND TAPE OUT TO THE INPUT AND

OUTPUT OF THE SAME DECK. DOING SO WILL FORM ALOOP CAUSING SEVERE FEEDBACK. USE SEPERATE DECKS FOR RECORDING AND PLAYBACK.

MASTER SECTION:

16. EFFECTS PEAK LED: Illuminates to indicate -6 dB of headroom before the

signals being sent to the effects circuit are clipped. Ideally, you would want this LED to light only occassionally if at all. An occassional blink indicates that you have the levels at an optimum setting. It is advisable to listen carefully to the output at the same time in order to determine the final setting.

12 10

17. PRESET: Selects the effect preset from the list below.

EFX Presets

PRESET NAME TIME/SIZE COLOR/TONE

1 Chamber Time: 150 to 5,000 ms Damping (High Frequency) 2 Plate Time: 100 to 4,000 ms Damping (High Frequency) 3 Room Time: 150 to 5,000 ms Damping (High Frequency) 4 Cathedral Time: 100 to 8,000 ms Damping (High Frequency) 5 Spring Time: 150 to 5,000 ms Damping (High Frequency) 6 Gate Time: 150 to 500 ms Damping (High Frequency) 7 Reverse Time: 150 to 500 ms Damping (High Frequency) 8 Delay + Reverb Time: 0 to 225 ms Reverb Time: 0 to 5,000 ms 9 Bright Delay Time: 0 to 500 ms Feedback: 0 to 99% 10 Warm Delay Time: 0 to 500 ms Feedback: 0 to 99% 11 Dark Delay Time: 0 to 500 ms Feedback: 0 to 99% 12 Ping Pong Delay Time: 0 to 500 ms Feedback: 0 to 99% 13 Chorus Rate: 0.125 to 8 Hz Depth: Best Set Full CW 14 Phaser Rate: 0.250 to 16 Hz Depth: Best Set Full CW 15 Flange Rate: 0.10 to 2.5 Hz Depth: Best Set Full CW 16 Rotary Speaker High Speed: 0.50 to 25 Hz Width: 0 to 100% CW

18. TIME/SIZE: In Reverb and Delay presets, this control adjusts the time of the particular reverb or delay; in Chorus, Phaser, and Flange, it adjusts the rate of each. In Rotary Speaker setting, this adjusts the speed of the speaker rotation.

19. COLOR/TONE: Adjusts the high-frequency content of the effects signal. (While using a delay this control adjusts the feedback or depth.)

20. EFX TO MON: Controls the amount of effects signal sent to the monitor mix. This control allows effects to be heard from the stage via the monitor.

21. EFX TO MAIN: Controls the amount of effects signal sent to the main mix.

22. FLS®(Feedback Locator System®): These LEDs illuminate to indicate the frequency band of highest

energy. When feedback occurs, this system will automatically indicate the graphics slider to use to decrease that frequency band’s gain in order to lessen or eliminate feedback. (NOTE: These LEDs illuminate with any audio signal, not just during feedback.)

23. GRAPHIC EQUALIZERS: These nine-band equalizers are fixed on one-octave centers. They are designed for 12 dB of cut and 12 dB boost. They are connected directly to their power amplifier inputs.

24. SYSTEM MODE: This switch is used to configure the XR 684 as either a stereo or dual mono amplifier. It is recessed to prevent accidental switching during a performance. Use a non-metallic object to change the switch position (e.g., a toothpick). The XR 684 is shipped from the factory in the default setting of Left Main to the upper EQ and Right to the lower EQ. When this switch is depressed it switches the lower EQ to (mono) PA Left + Right. The upper EQ then becomes the monitor signal only, creating an entire PA and monitor mixing system in one small, easy-to-carry package. And this change is accomplished without a single patch cord!

25. MONITOR LEVEL: Sets the overall level of the monitor signal that is sent to the Monitor Output Jack. This control also sets the monitor level going to the power amp when in Main/Monitor mode (see System Mode #24).

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