Peavey 16FX Istruzioni per l'uso

www.peavey.com

FX

™

Mixer Series

16, 24 and 32 Channel • Four-Bus Mixing Consoles

Operating

Manual

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, this apparatus should not be exposed to rain or

moisture‚ and objects filled with liquids‚ such as vases‚ should not be placed on this apparatus. Before

using this apparatus‚ read the operating guide for further warnings.

Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin

aislamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para

constituir 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!

PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles

dentro. Deje todo mantenimiento en manos del personal técnico cualificado.

ADVERTENCIA: Para prevenir choque electrico o riesgo de incendios, este aparato no se debe exponer a

la lluvia o a la humedad. Los objetos llenos de liquidos, como los floreros, no se deben colocar encima

de este aparato. Antes de usar este aparato, lea la guia de funcionamiento para otras advertencias.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse

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

instructions concernant l’utilisation et l’entretien de l’appareil dans le paragraphe signalé.

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. Confiez I’entretien et la réparation de

l’appareil à un réparateur Peavey agréé.

AVIS: Dans le but de reduire les risques d’incendie ou de decharge electrique, cet appareil ne doit

pas etre expose a la pluie ou a l’humidite et aucun objet rempli de liquide, tel qu’un vase, ne doit

etre pose sur celui-ci. Avant d’utiliser de cet appareil, lisez attentivement le guide fonctionnant pour

avertissements supplémentaires.

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Dieses Symbol soll den Anwender vor nicht isolierten „gefährlichen Spannungen“ innerhalb des Gehäuse

warnen, die hoch genug sind, um einen Stromschlag zu erzeugen.

Dieses Symbol soll den Anwender auf wichtige Bedienungs- und Wartungs- bzw.

Instandhaltungsanweisungen in den Begleitunterlagen zum Produkt aufmerksam machen.

VORSICHT: Stromschlaggefahr – NICHT ÖFFNEN!

VORSICHT: Gehäuse nicht öffnen, um Stromschläge zu vermeiden. Das Gerät enthält keine Teile, die vom

Anwender gewartet werden können. Wartungsarbeiten nur von qualifiziertem Fachpersonal durchführen

lassen.

WARNUNG: Gerät vor Regen oder Feuchtigkeit schützen, um Stromschläge und Brandgefahren zu

vermeiden. Keine mit Flüssigkeiten gefüllten Gegenstände, wie etwa Vasen, auf das Gerät stellen. Vor

Gebrauch des Geräts alle weiteren Warnhinweise in dieser Bedienungsanleitung lesen.

Avverte l’utente della presenza di “tensione pericolosa” non isolata all’interno dell’involucro del

prodotto, la cui entità può essere sufficiente a costituire rischio di folgorazione per le persone.

Avverte l’utente della presenza di importanti istruzioni sull’uso e la manutenzione (assistenza) nella

documentazione allegata al prodotto.

ATTENZIONE: rischio di folgorazione — NON APRIRE!

ATTENZIONE: per ridurre il rischio di folgorazione, non rimuovere il coperchio. All’interno non vi sono

componenti riparabili dall’utente. Per l’assistenza, rivolgersi al personale qualificato.

AVVERTENZA: al fine di evitare il rischio di folgorazione o incendio, questo apparecchio non deve essere

esposto a pioggia o umidità e su di esso non dovranno essere collocati oggetti contenenti liquidi‚ come

vasi‚ ecc. Prima di utilizzare questo apparecchio, leggere la guida per l’utente.

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Instrucciones Importantes Para Su Seguridad

CUIDADO:

Cuando use productos electrónicos, debe tomar precauciones básicas, incluyendo las siguientes:

1. Lea estas instrucciones.

2. Guarde estas instrucciones.

3. Haga caso de todos los consejos.

4. Siga todas las instrucciones.

5. No usar este aparato cerca del agua.

6. Limpiar solamente con una tela seca.

7. No bloquear ninguna de las salidas de ventilación. Instalar de acuerdo a las instrucciones del fabricante.

8. No instalar cerca de ninguna fuente de calor como radiadores, estufas, hornos u otros aparatos (incluyendo

amplificadores) que produzcan calor.

9. No retire la patilla protectora del enchufe polarizado o de tipo “a Tierra”. Un enchufe polarizado tiene dos puntas, una

de ellas más ancha que la otra. Un enchufe de tipo “a Tierra” tiene dos puntas y una tercera “a Tierra”. La punta ancha

(la tercera ) se proporciona para su seguridad. Si el enchufe proporcionado no encaja en su enchufe de red, consulte a

un electricista para que reemplace su enchufe obsoleto.

10. Proteja el cable de alimentación para que no sea pisado o pinchado, particularmente en los enchufes, huecos, y los

puntos que salen del aparato.

11. Usar solamente añadidos/accesorios proporcionados por el fabricante.

12. Usar solamente un carro, pie, trípode, o soporte especificado por el fabricante, o vendido junto al aparato. Cuando se

use un carro, tenga cuidado al mover el conjunto carro/aparato para evitar que se dañe en un vuelco. No suspenda

esta caja de ninguna manera.

13. Desenchufe este aparato durante tormentas o cuando no sea usado durante largos periodos de tiempo.

14. Para cualquier reparación, acuda a personal de servicio cualificado. Se requieren reparaciones cuando el aparato ha

sido dañado de alguna manera, como cuando el cable de alimentación o el enchufe se han dañado, algún líquido ha

sido derramado o algún objeto ha caído dentro del aparato, el aparato ha sido expuesto a la lluvia o la humedad, no

funciona de manera normal, o ha sufrido una caída.

15. Nunca retire la patilla de Tierra.Escríbanos para obtener nuestro folleto gratuito “Shock Hazard and Grounding”

(“Peligro de Electrocución y Toma a Tierra”). Conecte el aparato sólo a una fuente de alimentación del tipo marcado al

lado del cable de alimentación.

16. Si este producto va a ser enracado con más equipo, use algún tipo de apoyo trasero.

17. Nota para el Reino Unido solamente: Si los colores de los cables en el enchufe principal de esta unidad no

corresponden con los terminales en su enchufe‚ proceda de la siguiente manera:

a) El cable de color verde y azul debe ser conectado al terminal que está marcado con la letra E‚ el símbolo de Tierra

(earth)‚ coloreado en verde o en verde y amarillo.

b) El cable coloreado en azul debe ser conectado al terminal que está marcado con la letra N o el color negro.

c) El cable coloreado en marrón debe ser conectado al terminal que está marcado con la letra L o el color rojo.

18. Este aparato eléctrico no debe ser sometido a ningún tipo de goteo o salpicadura y se debe tener cuidado para no

poner objetos que contengan líquidos, como vasos, sobre el aparato.

19. El interruptor de en/lejos en esta unidad no rompe ambos lados de la red primaria. La energía peligrosa puede ser

presente dentro del chasis cuando el interruptor de en/lejos está en el de la posición. El tapón de la red o el acoplador

del aparato son utilizados como el desconecta dispositivo, el desconecta dispositivo se quedará fácilmente operable.

20. La exposición a altos niveles de ruido puede causar una pérdida permanente en la audición. La susceptibilidad a la

pérdida de audición provocada por el ruido varía según la persona, pero casi todo el mundo perderá algo de audición

si se expone a un nivel de ruido suficientemente intenso durante un tiempo determinado. El Departamento para la

Salud y para la Seguridad del Gobierno de los Estados Unidos (OSHA) ha especificado las siguientes exposiciones al

ruido permisibles:

Duración por Día en Horas Nivel de Sonido dBA, Respuesta Lenta

8 90

6 92

4 95

3 97

2 100

1 1⁄2 102

1 105

1⁄2 110

1⁄4 or less 115

De acuerdo al OSHA, cualquier exposición que exceda los límites arriba indicados puede producir algún tipo de pérdida en la

audición. Protectores para los canales auditivos o tapones para los oídos deben ser usados cuando se opere con este sistema de

sonido para prevenir una pérdida permanente en la audición, si la exposición excede los límites indicados más arriba. Para prote-

gerse de una exposición a altos niveles de sonido potencialmente peligrosa, se recomienda que todas las personas expuestas a

equipamiento capaz de producir altos niveles de presión sonora, tales como este sistema de amplificación, se encuentren protegi-

das por protectores auditivos mientras esta unidad esté operando.

¡GUARDE ESTAS INSTRUCCIONES!

6

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4

8

Note importanti sulla sicurezza

AVVERTENZA: Quando si usano prodotti elettrici, seguire sempre le precauzioni fondamentali, incluso quanto riportato di seguito.

1. Leggere le presenti istruzioni.

2. Conservare le presenti istruzioni.

3. Attenersi a tutte le avvertenze.

4. Seguire tutte le istruzioni.

5. Non usare questo apparecchio in prossimità dell’acqua.

6. Pulire solo con un panno asciutto.

7. Non ostruire le aperture di ventilazione. Installare conformemente alle istruzioni del produttore.

8. Non installare in prossimità di fonti di calore come radiatori, termoregolatori, stufe o altri apparecchi (inclusi

amplificatori) che producono calore.

9. Non vanificare la funzione di sicurezza della spina polarizzata o della spina con collegamento di terra. Una spina

polarizzata presenta due lamelle, una più larga dell’altra. Una spina con collegamento di terra presenta due lamelle e

un terzo spinotto di terra. La lamella larga o terzo polo è stato previsto ai fini della sicurezza. Se la spina fornita non

è adatta alla presa del proprio impianto elettrico, rivolgersi a un elettricista per sostituire la presa obsoleta.

10. Proteggere il cavo di alimentazione affinché non venga calpestato o sottoposto a sollecitazioni, in particolare in

prossimità di spine, prese e del punto in cui esce dall’apparecchio.

11. Usare solo accessori forniti dal produttore.

12. Usare solo con carrelli, supporti, treppiedi, staffe o tavoli specificati dal produttore o venduti insieme all’apparecchio.

Se si usa un carrello, prestare attenzione quando si sposta la combinazione carrello/apparecchio al fine di evitare

lesioni derivanti dal ribaltamento.

13. Scollegare questo apparecchio in caso di temporale o se si prevede di non utilizzarli per periodi prolungati.

14. Per tutti gli interventi di assistenza, rivolgersi al personale qualificato. Interventi di assistenza saranno necessari

se l’apparecchio ha subito danni, come nel caso di danni al cavo di alimentazione, caduta di liquidi od oggetti

solidi all’interno dell’apparecchio, esposizione dell’apparecchio a pioggia o umidità, malfunzionamento o caduta

dell’apparecchio.

15. Non rimuovere lo spinotto di terra. Richiedere per iscritto il nostro opuscolo gratuito “Shock Hazard and

Grounding (Rischio di scosse elettriche e collegamento di terra.)” Collegare solo ad alimentazione del tipo indicato

sull’apparecchio vicino al cavo di alimentazione.

16. Per il montaggio in rack, prevedere un supporto posteriore.

17. Nota (solo per GB): se i colori dei conduttori del cavo di rete elettrica di questo apparecchio non corrispondono ai

terminali della spina, procedere come segue:

a) il cavo verde e giallo deve essere collegato al terminale marcato con la lettera E‚ il simbolo del collegamento di

terra‚ di colore verde o giallo-verde

b) il cavo blu deve essere collegato al terminale marcato con la lettera N oppure di colore nero

c) il cavo marrone deve essere collegato al terminale marcato con la lettera L oppure di colore rosso.

18. Questo apparecchio elettrico non deve essere esposto a gocciolamento o a spruzzi e sopra di esso non si devono

collocare oggetti contenenti liquidi, come vasi.

19. L’interruttore on/off di questo apparecchio non deve sezionare entrambi i lati dell’alimentazione di rete principale.

Quando l’interruttore si trova in posizione OFF, è possibile che all’interno dello chassis sia presente un’energia

pericolosa. La spina o il connettore di rete viene utilizzato come dispositivo di scollegamento, che dovrà restare

facilmente accessibile.

20. L’esposizione a livelli di emissione acustica molto elevati può causare la perdita permanente dell’udito. La predisposizione

alla perdita dell’udito indotta da emissioni acustiche varia notevolmente da soggetto a soggetto, ma quasi chiunque

può subire danni all’udito se ci si espone a emissione acustica di una certa intensità per un certo periodo di tempo.

L’OSHA (Occupational Safety and Health Administration, Dipartimento del governo statunitense per la tutela della salute

occupazione) ha emanato una specifica con i seguenti livelli ammissibili di esposizione a emissioni acustiche:

Durata giornaliera espressa in ore Livello di pressione sonora in dBA, risposta “lento”

8 90

6 92

4 95

3 97

2 100

1 1⁄2 102

1 105

1⁄2 110

1⁄4 o inferiore 115

Secondo l’OSHA, qualsiasi esposizione superiore ai limiti consentiti di cui sopra può causare la perdita, anche parziale, delle

facoltà uditive. Quando si usa questo impianto di amplificazione, indossare tappi o dispositivi di protezione del condotto uditivo, al

fine di evitare una perdita permanente dell’udito, qualora l’esposizione superi i limiti sopra indicati. Per prevenire i potenziali rischi

dell’esposizione a livelli elevati di pressione sonora, si consiglia di indossare dispositivi di protezione dell’udito a tutte le persone

esposte ad apparecchiature suscettibili di produrre livelli elevati di pressione sonora, come questo apparecchio quando è in funzione.

CONSERVARE LE PRESENTI ISTRUZIONI!

9

16FX

™

, 24FX

™

and 32FX

™

4-Bus Console Mixer

Congratulations on purchasing the Peavey 16FX

™

, 24FX

™

or 32FX

™

four-bus console mixer. The Peavey 16FX

™

, 24FX

™

and

32FX

™

are studio-quality mixing consoles designed to meet diverse needs. These consoles feature Peavey-exclusive technology

that enhances live studio reproduction as well as project studio recording, making them perfect for every venue. FX

™

Series mix-

ers also feature built-in DSP effects that are useful in real-world recording and sound reinforcement, while parameter controls

allow you to tailor each effect to meet your needs.

Please read this guide carefully to ensure your personal safety as well as the safety of your equipment.

FEATURES:

• Silencer™ mic preamps with current-source dual feedback design

• 12 XLR mic inputs on 16FX, 20 XLR mic inputs on 24FX, 28 XLR mic inputs on 32FX

• Two stereo channels with direct-to-L/R assignment capability

• Three-band channel EQ on all input channels

• Sweepable mid-frequency control on all mono input channels

• 75 Hz low-cut filter on all mono input channels

• Inserts on all mono channels

• Four-bus design with direct group outputs and L/R assignment

• Four monitor sends per channel, pre-fader

• Two effects sends per channel, post-fader

• Pan and PFL on each channel

• Clip LEDs for the entire signal path for clipping

• Signal presence LEDs on every input, group and return

• Mute switches with LED indicator on every input, group and return channel

• 48-volt phantom power switch

• Dual DSP engines for output processing, dual effects and digital I/O

• Output processing includes EQ, Delay and Compressor/Limiter

• Large LCD graphics user interface

• Dual USB ports

• Direct streaming of audio to and from your computer

• Built-in MP3 compression, direct recording and playback via USB removable data storage device

• Media inputs with level control assignable to L/R mix

• Headphone output with level control

• Two 12V BNC lamp jacks (24FX and 32FX mixers only)

ENGLISH

Gain

This control establishes the nominal operating level for the channel. The input

gain can be adjusted over a wide range (0 dB – 60 dB) to compensate for soft

voices or very loud drums. To maximize the signal-to-noise ratio, the gain should

be set to the proper level, with the Channel Fader (13) set to 0. It can be set by

pressing the PFL Switch (12) and adjusting for 0 dB on the output meter. If the

clip LED comes on and remains lit, reduce the gain.

Lo Cut

The low-cut lter has a corner frequency of 75 Hz. When engaged‚ it can improve

clarity by removing low frequencies that make a mix sound muddy. This lter

reduces handling and stage noise, breathing noise, and unwanted low frequency

energy that can rob your sound system of power. Engaging this switch will

remove those frequencies from the system and restore power where needed. We

recommend engaging it for all channels except those with the lowest bass tones

such as Bass guitar and Kick drum.

Hi EQ

This shelving type tone control adjusts treble frequency levels (±15 dB at 10 KHz),

resulting in less noise or more brilliance.

Mid EQ

This active tone control is a bandpass (peak/notch) type that varies mid-frequen-

cy response by ±15 dB in a range from 100 Hz to 5 kHz. The center frequency is

controlled by the Mid Freq (5) control.

Mid Freq

This control determines the center frequency of the Mid EQ (4) control. Center

frequency for the bandpass lter can be set from 100 Hz to 5 kHz.

Low EQ

This shelving-type tone control adjusts bass frequency levels (±15 dB at 70 Hz),

adding depth to thin signals or clarity to overly thick signals.

Caution: Excessive low frequency boost causes increased power consumption

and increases the possibility of speaker damage.

AUX 1-4 Sends

These controls send the channel’s pre-fader, post-EQ signal to each of four aux

buses. These buses are normally used for monitor sends or for feeding a sepa-

rate mix to external equipment. There are internal jumpers that can be switched

to change the send point to pre-EQ. Unity gain is at the center detent position

with up to 10 dB of gain in the fully clockwise position.

AUX 5-6/EFX 1-2 Sends

These controls send the channel’s post-fader signal to each of two aux (effects)

buses. These buses are normally used for effects sends or for feeding the inter-

nal effects processors. Unity gain is at the center detent position with up to 10

dB of gain in the fully clockwise position.

10

Front Panel

1

2

3

4

7

5

6

8

MONO INPUT CHANNELS

2

3

4

1

6

5

8

7

9

10

11

12

13

Pan

This control determines the signal’s position with respect to the assigned L/R and Group 1–4 buses.

Rotating the control counterclockwise increases the amount of signal sent to L and odd-numbered

groups; rotating clockwise increases the amount sent to R and even-numbered groups. For example,

with the channel Bus Assign switch (10) in the 1/2 position, rotating the control counterclockwise

increases the amount of signal sent to Group 1, while rotating clockwise increases the amount sent to

Group 2. The C position sends equal amounts to each.

1/2, 3/4, L/R Bus Assign Switches

These post-fader switches determine where the channel signal is being sent. For example, to send a

signal to Groups 1 & 2, depress the 1/2 button. The PAN control (9) determines the signal level that is

sent to each signal bus.

Mute Switch/Mute-Clip LED

This switch mutes all Aux, Group and L/R sends from the corresponding channel. This switch is

equipped with a red LED that will illuminate when the channel is muted. When the MUTE button is out,

the LED functions as a Clip indicator that will illuminate at 2 dB below clipping. Muting the channel does

not prevent the PFL signal from being sent to the PFL/AFL mix when the PFL Switch (12) is in.

PFL Switch/Signal-PFL LED

This switch connects the channel’s pre-fader signal to the PFL/AFL mix. When the PFL button is in, the

channel’s signal can be monitored through the headphones and/or on the PFL/AFL display. A yellow

LED in the Master section will blink to indicate that the signal on the Master LED display and at the

headphone output is PFL. Selecting PFL allows the operator to monitor a channel even with the channel

muted, and is especially useful for cuing CDs/tapes. When the PFL button is out, the yellow channel LED

will function as a signal presence indicator (-30 dBu).

Channel Fader

This control varies the signal level from -∞ to +10 dB and sends the signal from the channel to the L/R

and Group buses and to the Effects Sends. The optimum setting is the ø (unity gain) position.

11

Front Panel

9

10

11

13

12

Mic Gain

This control establishes the nominal operating level for the mic input (XLR) of

the channel. The mic gain can be adjusted over a wide range (0 dB – 60 dB) to

compensate for soft voices or very loud drums. To maximize the signal-to-noise

ratio, the gain should be set to the proper level, with the Channel Fader (13) set

to ø. The mic gain can be set by pressing the PFL button (12) and adjusting for

ø dB on the output meter. If the clip LED comes on and remains lit, reduce the

gain.

Stereo Gain

This control establishes the nominal operating level for the stereo line inputs

(1/4" jacks) of the channel. The Stereo Gain can be adjusted over a sufcient

range (-∞ to +20 dB) to accommodate almost any input level. It operates in

conjunction with the L/R–CH Switch (16) to route the stereo signal directly to

the L/R buses or through the channel strip.

L/R–CH Switch

This switch establishes the routing of the stereo line input (1/4" jacks) signal.

When the switch is out, the stereo line input signal is routed directly to the L/R

buses, bypassing the channel strip. In this mode, the mic input (XLR) signal is routed through the

channel. When the switch is in, the stereo line input signal is routed through the channel and the mic

input signal is disconnected. The signal level is controlled via the Stereo Gain control (15).

Input Select Stereo-USB Switch

This switch selects the input signal that will feed the stereo line input of the second stereo channel.

When the switch is out, the signal from the stereo line inputs is routed to the Stereo Gain control (15).

When the switch is in, the signal from the device connected to either USB port (60-61) is routed to the

Stereo Gain control (15).

Mid EQ

In the Stereo Input channels, this active tone control is a bandpass (peak/notch) type that varies

mid-frequency response by ±15 dB at a center frequency of 850 Hz.

Auxiliary Masters 1-4

This control sets the output level of the AUX 1-4 mixes and is adjustable from -∞ to +10 dB.

Auxiliary Masters 5-6

This control sets the output level of the various AUX 5-6 mixes and is adjustable from -∞ to +10 dB.

These signals are also sent to the EFX1 and EFX2 internal effects processors, respectively.

AFL Switch/AFL-Clip LED

This switch directs the post-fader (AFL) signal to the Headphone output (37) and activates the PFL/

AFL LED display. An adjacent red LED illuminates to signify this selection. If AFL is not selected, the LED

functions as a Clip indicator. Selecting AFL allows monitoring of AUX Masters with the full PFL/AFL Level

Display as well as allowing the operator to hear the output.

Front Panel

14

19

16

17

18

21

20

15

STEREO INPUT CHANNELS

Stereo Input Channels

ONLY

14

2

17

16

15

3

18

6

MASTER SECTION

13

Phantom Power Switch

This switch applies +48 VDC voltage

to the input XLR connectors to power

condenser microphones requiring phan-

tom power. This switch is recessed into

the console and requires a small “tool”

such as a pencil or pen tip to activate. A

regular low impedance dynamic mic such

as the PVM™ 22 will not be harmed. The

Line inputs (49&50) are not connected

to the +48 V supply and are safe for bal-

anced or unbalanced inputs. An adjacent

LED illuminates when Phantom Power is

activated.

Caution:

If phantom power is used, do not

connect unbalanced dynamic micro-

phones or other devices to the XLR

inputs. (Some wireless receivers may be

damaged. Consult their manuals.)

Note:

Make sure the Master Level Faders (40)

are completely down when switching on

the phantom power and when connect-

ing microphones to the Mic inputs to

prevent pops from affecting the loud-

speakers.

Left, Right, Bus Assign Switches

These post-fader switches determine

where the Group mix signal is being sent.

For example, if each individual drum mic

is assigned to Group 1, depressing the

Left button will send the drum mix to the

Left bus and to the Left Out (54) on the

rear panel.

Mute Switch/Mute-Clip LED

This switch mutes its respective Group

send from the Group channel. This switch

is equipped with a red LED that will il-

luminate when the Group is muted. When

the Mute button is out, the LED functions

as a Clip indicator that will illuminate at 2

dB below clipping.

44

19

30

20

21

22

23

24

25

26

47

45

46

38

39

29

41

40

32

31

42

36

35

34

27

37

33

28

43

Front Panel

22

24

23

AFL Switch/Signal-AFL LED

This switch connects the Group’s post-fader signal to the PFL/AFL mix. When the AFL button is in, the

Group’s signal can be monitored through the headphones and/or on the PFL/AFL display. A yellow LED

in the Master section will blink to indicate that the signal on the Master LED display and the Headphone

Output is the PFL/AFL mix. When the AFL button is out, the yellow group LED will blink as an indication

of signal presence (-30 dBu).

Group Fader

This control varies the signal level from -∞ to +10 dB and sends the signal from the Group to the Left

and/or Right buses and to the Group Output jacks (53). The optimum setting is the ø (unity gain)

position.

TO AUX 1 & TO AUX 2 Controls

These controls determine the level of the respective Effects Return signal that is sent to the respective

AUX bus, allowing musicians/singers to hear internal and/or external effects in their monitors.

NOTE: Due to the creation of an electronic feedback loop, do not use AUX Sends 1 or 2 as the path to

external equipment that is to be sent back to the corresponding AUX mix (1 or 2).

BAL

This control determines the placement of the Effects Return signal's position with respect to the as-

signed L/R and Group 1-4 buses. Rotating the control counterclockwise (L) sends more signal to the

LEFT output and odd-numbered GROUPS; rotating clockwise (R) sends more signal to the RIGHT output

and even-numbered GROUPS. The C position sends equal amounts to each.

EFX LEVEL Control

This control determines the level of the Effects Return signal being sent to its assigned buses. It func-

tions similarly to the Channel Faders (13).

1/2, 3/4, L/R Bus Assign Switches

Like the channel assign switches, these buttons determine the bus assignment of the Effects Return

signal. They determine where the signal is being sent.

Mute Switch/Mute-Clip LED

This switch mutes its respective Effects Return from being sent to the buses. This switch is equipped

with a red LED that will illuminate when the Effects is muted. When the Mute button is out, the LED func-

tions as a Clip indicator that will illuminate at 2 dB below clipping.

AFL Switch/Signal-AFL LED

This switch connects the Effects Return post-fader signal to the PFL/AFL mix. When the AFL button is in,

the Effects Return signal can be monitored through the headphones and/or on the PFL/AFL display. A

yellow LED in the Master section will blink to indicate that the signal on the Master LED display and the

Headphone Output is the PFL/AFL mix. When the AFL button is out, the yellow Effects Return LED will

blink as an indication of signal presence (-30 dBu).

Effects 2 Patch Switch

This switch determines whether the Effects 2 processor will be used in the Return 2 or will be patched

to an Input Channel or Group insert point. This switch can also be used to perform the bypass function.

When the effects processor is assigned to the EFX 2 Return, the I/O jack (56) is bypassed. Similarly,

when the effects processor is being patched externally, only the external Stereo Return jacks (57) are

used to return a signal.

14

Front Panel

26

27

29

28

30

32

31

33

25

15

Front Panel

Media In Level Control

Controls the level of the Media Input signal from the RCA jacks (58) to the Left and Right buses when the

L/R switch (35) is in.

Media In L/R Switch

Routes the Media Input signal to the Left and Right buses.

Record Out Control

Controls the Record Output level of the pre-fader Left and Right main output signal to the RCA jacks (59).

Regardless of the position of the L/R–Media Switch (39), when any PFL/AFL switch on the mixer is

activated, this display indicates the signal level being sent to the PFL/AFL bus. The PFL/AFL indicator

ashes if either mode (PFL or AFL) is selected.

Headphone Output Jack

The Headphone Output is a 1⁄4” TRS (Tip= Left; Ring = Right; Sleeve = Ground) jack. The signal sent to

this output is normally the Left/Right mix. When the L/R–Media Switch (39) is engaged, the Media Input

signal is selected and is monitored through headphones. An activated PFL or AFL button (indicated by a

yellow ashing LED) switches the headphone output jack monitor to the selcted signal.

Headphone Level

This control sets the Headphone Output level. To avoid damage to your hearing‚ make sure to turn the

control fully counterclockwise before using headphones. Slowly turn the knob clockwise until you reach

a comfortable listening level. Normally, the signal in the headphones is the Left/Right signal. If the

L/R–Media Switch (39) is engaged‚ the Media Input signal is selected and monitored through

headphones. An activated PFL or AFL button (indicated by a yellow ashing LED) switches the head-

phone level monitoring to the selcted signal.

L/R–Media Switch

This switch selects the signal that is monitored by the headphones. When out, the Main Left/Right post-

fader signal is monitored. When in, the Media Input post-fader signal is monitored.

Master Level Faders

The Master Faders control the levels sent to the Main Left/Right outputs (54). Best results are obtained

when these controls are set near the 0 point.

Left/Right – PFL/AFL Level Displays

These indicators graphically display the level of the signal selected by the L/R–Media Switch (38). When

the switch is in, these indicators show the level of the post-fader level of the Media Input. When the

switch is out, these indicators show the level of the Main Left and Right outputs. Signal is sampled at

the summing amp and post-master faders to monitor clipping throughout the Left/Right section. The

Clip LED indicator will illuminate when any level in the signal chain approaches (-2 dB) clipping.

NOTE: Clip LED can illuminate before the rest of the array indicating the summing amp reaches clipping.

Power LED

This LED indicates that AC power is supplied to the unit‚ the power switch is on, and the unit is function-

ing properly.

Lamp 12Vdc (24FX™ and 32FX™ mixers only)

These outputs are designed to power gooseneck lamps such as the Peavey ML-1.

38

39

37

40

41

42

43

35

36

34

16

Page Select Switches (A-B-C)

Use these three switches to select the desired digital processor page that is shown in the LCD

Graphics User interface (47) and controlled by the encoders (45) and the soft switches (46).

Software Encoders

These encoders allow you to edit the selected parameters as indicated on the LCD (47).

Software Switches

These switches select the functions that are indicated on the LCD (47).

LCD

The Liquid Crystal Display reveals all of the menus available for editing.

This is a brief overview of the digital processing capabilities of your new FX™ mixer. While you can

expect incredible results following this guide, mastering the art of digital processing will be achieved

through experimentation. Keep in mind that until you conrm your changes by pressing "save", no

alterations have been made to the presets. Peavey engineers programmed your mixer with a variety of

the most commonly used presets, which are ready to use right out of the box. However, your FX mixer

will only reach its full digital processing potential through your acquired expertise. Review the process

below and begin exploring the digital mixing world beyond factory presets.

44A Effects Screen

When you power up your FX Mixer, the Peavey logo will briey appear on the LCD (47). In a few seconds,

once the mixer software is fully loaded, the effects screen will appear on the LCD (47). Your FX Mixer fea-

tures a variety of commonly used factory presets and plenty of user-dened, customizable presets. Each

preset effect may contain 1-3 effects. The split screen display (EFX 1 and EFX 2) contains information

for the current, active presets. The two active presets shown on the LCD (47) are independent and can

be assigned to any channel(s) using EFX 1-2 Sends (8) . The screen displays the preset number (effects

1-99), the title for that individual effect (Church Choir, for example), and which effects are included in

that preset (compressor, reverb, delay, etc.). To change the preset for EFX 1 or EFX 2, use the correspond-

ing Software Encoder knob (45) . When you reach

the desired preset, you will be prompted to select

the new preset by pressing the Effects switch (44).

An asterisk will appear beside any preset number

that has been edited but not saved. Once a new

preset has been selected, you may return to the

previous preset by pressing the software encoder

(Recall). To edit a preset, press the software switch

labeled Edit and follow the on-screen directions,

which allow individual parameter changes. For

example, you may wish to increase the bass and

decrease the amount of reverb on the "Joe's Bar"

preset(preset 37). The “lib” (library) is a helpful place to start. Peavey has pre-programmed your FX

mixer with a library of commonly used effects settings (Delay, Reverb, Deesser, etc.). You may choose to

use the library effect as programmed or tweak the parameters to your own personal preference.

Cathedral

Tube Hard

Bypass

34

user 34

Small Room

DW Expdr 4:1

Flange Hvy

11

Factory 11

Recall

Edit 34

Edit 11

*

Front Panel

DIGITAL PROCESSOR

44

45

46

47

DIGITAL PROCESSING ARENA

17

IMPORTANT: When a signal passes through a digital

effects processor, a short delay results. When this

same signal returns to the mixer and combines with

the main output, the small delay difference results in

a comb lter. (Short changing delays are the basis of

wah-wah effects.) To prevent the comb-lter effect,

increase the delay time simply by including an effect

block such as reverb or delay.

Note that many effects like compressor, limiter, gate,

chorus, etc., do not work well when used alone on

an effects send. Fortunately, the EFX 2 Patch Jack

(56) can be patched directly into an Insert (48) on any channel or subgroup (Group Inserts (54)). Press

the EFX 2 Patch Switch (33) to activate the patch. In this conguration, comb ltering is eliminated be-

cause the only signal path is through the processor.

If you make a mistake, you do not have to start over. The “undo” button will revert the last change to its

original setting, much like the undo command in a word processor. To make further renements to any

user-dened preset, you have two choices: press the "back" button and start completely over, or simply

use the soft knobs (45-46) to return to the individual effect within a preset. Remember, factory presets

cannot be altered by the user. If you choose to adjust or build on a factory preset (which we encourage

you to do), your saved settings will be automatically directed to the next, unused, customized preset.

WARNING: When user-dened, customizable presets are saved, they will automatically replace the

current settings for that preset UNLESS you assign a new preset number. If you overwrite the originally

saved preset settings, the old settings are no longer retrievable.

QUICK TIP: From anywhere within the digital arena, you can return to the main effects screen simply by

pressing the Effects Button (44A).

44B Output Processing

Pressing the Output Processing button (44B) allows

users to adjust the main (L-R) signal output from

the FX™ mixer, in your choice of stereo output, dual

mono output, or subwoofer output modes. Users

can create and save presets for all three effects com-

bined. Your mixer is also equipped with one “neu-

tral” preset, allowing an unadjusted (zero) starting

place for creating a new preset.

By default, the stereo output menu appears when the Output Processing button (44B) is pressed. If you

prefer to work in dual-mono-output or

subwoofer mode, return to the main output processing screen by pressing the “mode” soft knob choice.

Stereo Output Mode

The stereo output option features four customizable output effects: Feedback Ferret®, EQ, Delay, and

Limiter. To edit an effect, press the Soft Encoder button (45) and then enter the edit mode using Soft

Switches (46). To save a new preset (save current) or to use a previously saved setting (load saved),

enter the “lib” (library) mode using the soft knobs (45-46).

Remember, in stereo mode these parameter adjustments are made to both the left and right channels

equally.

OUTPUT PROCESSING

EDIT

TYPE

MODE

FB

EQ

DLY

LIM

EFX 1 user 34

None

EDIT

SAVE

TYPE

BACK

DIGITAL PROCESSING ARENA

18

DIGITAL PROCESSING ARENA

Dual Mono Output Mode

The dual mono output mode functions exactly like the stereo mode except that parameters may be

adjusted independently for left and right channels. To save a new preset (save current) or to use a previ-

ously saved setting (load saved), enter the “lib” (library) mode using the soft knobs (45-46).

Subwoofer Output Mode

This mode features an internal crossover lter that allows you to adjust parameters of frequency levels

(high frequencies feed to the left channel and low frequencies feed to the right). To save a new preset

(save current) or to use a previously saved setting (load saved), enter the “lib” (library) mode using the

soft knobs (45-46).

44C Digital I/O

Pressing the Digital I/O (44C) allows user access to the utility or USB menu options.

Utility Menu Options

Entering the utility function allows users to adjust

screen contrast, assign two levels of user acces-

sibility (security), change or access password, or

restore the unit to the original factory presets.

To accommodate lighting, LCD (47) viewing may be

adjusted simply by entering the "view angle"

option from the main utility screen using soft

knobs (45-46) to make all adjustments.

To accommodate varying users, your FX™ mixer is equipped with a two-level security system. The main

mixer operator user controls who can do what with the digital effects board, granting passwords to

people for specic processing rights such as disabling effects edit, disabling output edit, etc. Security

settings can be adjusted simply by entering the security choice option from the main utility screen using

the soft knobs (45-46) to make all adjustments.

MASTER USER TIP: Peavey highly recommends that you set a security password. Allowing someone

else to operate your unsecured FX mixer grants that user complete access to change all of your settings.

Security passwords protect the time you spent to get your presets just right while allowing you to safely

provide digital processing access for even the most inexperienced users.

In the event you wish to change your password, press the "change password" button from the main

Digital I/O menu (44C), and follow on-screen directions.

IMPORTANT: Write and store your password in a safe place. No one other than you should have access

to this password; loss of your password could result in your inability to change settings.

CAUTION: Restoring the factory settings option resets your mixer’s presets, reformatting factory presets

and erasing all other user presets. (This option is handy when your venue has permanently changed and

all-new presets are required.) Once conrmed, the presets are not retrievable and will be permanently

lost. Should you select this option in error, a warning screen allows you to cancel the procedure.

USB Menu Options

Entering the USB function allows users to play or record .mp3, .aiff and .wav les using a USB drive (pur-

chased separately).

19

This feature is perfect for playing a pre-recorded musical piece through assigned channels of your mixer.

USB drives also allow you to record specic segments of your work or an entire gig up to the amount of

free memory available on your USB drive. After connecting a USB drive to the USB port (60), enter the

USB menu. Follow on-screen instructions to select les available for playback or to name les for

recording, again using soft knobs (45-46) to make all selections.

Firmware Updates

To install a rmware update, hold down the left Software Encoder (45) while powering up your mixer.

Follow on-screen prompts to complete your process. Necessary les can be downloaded from the In-

ternet and installed using your computer or an optional USB drive. If the installation is successful, your

mixer will automatically restart. If unsuccessful, or to exit the update mode, press the power button to

restart.

CONNECTIONS

Inserts

These jacks are

1/4” Tip/Ring/Sleeve

(TRS) connectors

that allow external

signal processors to

be inserted into the

Input Channel sig-

nal path. Tip=Send;

Ring=Return;

Sleeve=Ground. One of

the on-board

effects processors can

be patched to any chan-

nel with an Insert.

Line (1/4”) Inputs

These jacks are 1/4”

balanced (TRS) high-

impedance inputs. The

tip is the positive input

and should be used for unbalanced inputs. It has 20 dB less gain than the XLR input and does not have

phantom power available. The Mic and Line inputs should not be used simultaneously.

Mic (XLR) Inputs

XLR balanced inputs 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 +14 dBu can be accommodated.

Stereo (1/4”) Inputs

These 1/4” unbalanced inputs work as a stereo line input using both jacks or as a mono input if the con-

nection is made to the L/Mono input only.

Group Inserts

These jacks are 1/4” TRS connectors that allow external signal processors to be inserted into the Group

signal path. Tip=Send; Ring=Return; Sleeve=Ground. One of the on-board effects processors can be

patched to any Group Insert.

48

49

50

51

52

53

54

56

57

58 59

55

60 61

49

50

51

52

Rear Panel

48

DIGITAL PROCESSING ARENA

20

Group Outputs

These Group Outputs feature 1/4” TRS balanced jacks and provide output signal from the Groups. The

output level is set by the Group Level faders (26).

Left/Right Outputs

The Left/Right Outputs feature two 1⁄4” TRS Z-balanced jacks and two fully balanced XLR outputs. The

1⁄4” outputs can be used with Tip‚ Ring, Sleeve (TRS) balanced or Tip, Sleeve (TS) unbalanced connec-

tors. The output level is set by the Master Level faders (40). Both outputs can be used simultaneously.

AUX 1 - 6 Outputs

These AUX Outputs feature 1/4” TRS balanced jacks and provide signal from the Auxiliary Outputs. The

output level is set by the AUX Level controls (19, 20).

Effects 2 Patch Jack

This 1/4” TRS jack allows the internal Effects 2 processor to be patched to an Input or Group Insert or

to an external device. The tip carries the input (return) signal to the compressor and the ring carries the

output (send).

EFX 2 Return Jacks

These 1/4” high-impedance balanced inputs can be used as stereo or individual returns. Designed for

effects return, they can also be used as additional stereo inputs. The L/Mono input provides signal to

both inputs if no connector is attached to the Right jack. The tip is the positive input for both balanced

and unbalanced use.

Media In Jacks

The Media Input jacks are set up for a +4 dBu input from a stereo audio media source. The signal feeds

the Media In level control (34).

Record Output Jacks

The output jacks can provide a +4 dBu output signal to a stereo recording device. The output level is

controlled by the Record Output level control (36).

USB Memory Connector

Use this A-type USB connector to plug in a removable data storage device to read or write MP3-

formatted les.

USB Computer Connector

Use this B-type USB connector to connect with a computer.

Rear Panel

57

58

56

59

60

61

53

54

55

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