Peavey RQ 4300 Series manual MID Freq

						(8)	MID FREQ
			1				This control determines the center frequency of the MID control.
							Center frequency for the bandpass filter can be set from 200 Hz
	4	5	6	GAIN
							to 6 kHz.
	3		7		4
	2
	1		9			(9)	LOW
	0		10
				LOW
							This active tone control is a shelving-type that varies low-frequency
	50		100	CUT
				(Hz)	5
	20		150				response by +/-15 dB. Corner frequency is 75 Hz.
	OFF		300
	3	0	3	HI		(10)	AUX 1– 4
	6		6	(dB)	6
EQUALIZATION	9		9				These controls adjust the level of the channel’s pre-fadersignal that
	12		12
	15		15				is sent to the auxiliary mix. Gain is variable from minus infinity (– ∞)
	3	0	3	MID
	6		6	(dB)	7		to +10 dB. Unity gain is at the center detent position. Pre-fader
	9		12
	12						auxiliaries are typically used to send signal to stage monitors, but
	15		15	MID
	700		1K	FREQ.			can also be used to generate an independent recording mix.
				(Hz)	8
	300		2.5K
	200		6K				NOTE: AUX SENDS 1-4 are factory set to deliver signal pre-EQ, but can
		0		LOW
	3		3				be modified (internally) to deliver signal post-EQ. Contact Peavey
	6		6	(dB)	9
	9						Electronics Service Dept. for information. AUX SENDS 5-6 are always
	12		12
	15		15				post-EQ.
	3	0		AUX
			3
	6			1		(11)	AUX 5 – 6
	15		5
	40		10 dB				These controls adjust the level of the channel’s post-fadersignal
		0		AUX
	3		3				that is sent to the auxiliary mix. Gain is variable from minus infinity
	6			2
	15		5
							(– ∞) to +10 dB. Unity gain is at the center detent position.
PRE	40		10 dB		10
	3	0		AUX		(12)	PAN
			3
	6			3
			5
	15						This control determines the signal’s position with respect to L/R and
	40		10 dB
							SUB 1– 4 outputs. Rotating the control counterclockwise increases
	3	0	3	AUX
				4
	6						the amount of signal sent to L and odd-numbered SUBs; rotation
	15		5
	40
			10 dB				clockwise increases the amount sent to R and even-numbered
	3	0	3	AUX
	6			5			SUBs. For example, with the channel ASSIGN switch (13) in the
POST	15		5
	40		10 dB				1/2 position, rotating the control counterclockwise increases the
					11
	3	0	3	AUX			amount of signal sent to SUB 1, while rotating clockwise increases
	6			6
	15		5				the amount sent to SUB 2. The C position sends equal amounts
	40		10 dB
							to each.
		C		PAN
					12	(13)	1/2, 3/4, L/R, MONO (ASSIGN)
	L		R				These post-fader, post-EQ switches determine where the channel
	1/2			3/4	13		signal is being sent. For example, to send a signal to SUBs 1 & 2,
							depress the 1/2 button. The PAN control (12) determines how much
	L/R		MONO				signal is sent to each SUB group.
	CHANNEL					(14)	MUTE SWITCH/MUTE-CLIP LED
	1		MUTE/		14
			PK				This switch mutes all AUX, SUB, L/R and MONO sends from the
			10	SIG/	15		corresponding channel. This switch is equipped with a red LED that
				PFL			will illuminate when the channel is muted. When the MUTE switch is
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							disengaged, the LED functions as a clip (PK) indicator that will
			3
			0				illuminate at 2 dB below clipping. Muting the channel does not
			6
			12				prevent the PFL signal from being sent to the PFL mix when the
			20				PFL switch (15) is engaged.
			30			(15)	PFL SWITCH/SIGNAL-PFL LED
					16		This switch connects the channel’s pre-fader signal to the PFL mix.
							With this feature engaged, the channel’s signal can be monitored
							through the headphones and/or on the AFL/PFL display. A yellow

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