Threshold, SUB Groups, Mute/Mute Led

NOTE: While linked, the gain reduction meter in the second group may show gain reduction, although it is not a true representation of the compressor activity.

(27)GAIN REDUCTION LED’s

These LEDs graphically show the amount of gain being reduced through compression (-1 to –12 dB).

(28)THRESHOLD

This control sets the level at which compression activates and is variable from –30 dBu to no compression in the OFF position. The adjacent LED (0 dBu) will illuminate when enough signal is present for compression to function properly.

SUB GROUPS

(29)LEVEL LEDs

This display indicates the amount of signal present in the SUB group mix. Signal is sampled at the summing amp and post-master faders to monitor clipping throughout the SUB group. The CLIP indicator will illuminate when signal approaches (-2 dB) clipping. For example, the SUB fader (33) may be at an acceptable setting, yet the channel signals assigned to the SUB may be approaching clipping. If this is occurring, the channel FADER (16) and GAIN (4) settings may need to be assessed and setting corrections made.

NOTE: The CLIP LED can illuminate before the rest of the array indicating the summing amp is clippping.

(30)LEFT, RIGHT, MONO (OUTPUT ASSIGN)

These switches determine where the SUB mix signal is being sent. For example, if each individual drum mic is assigned to SUB 1, depressing the LEFT button will send the drum SUB mix to the LEFT OUT on the rear panel.

(31)MUTE/MUTE LED

This switch mutes all output from the corresponding SUB group. Illumination of the adjacent red LED occurs when the MUTE button is depressed.

(32)AFL/AFL LED

This switch directs the post-fader signal from the respective SUB group to the HEADPHONE OUTPUT (42) and is displayed in the AFL/PFL LEVEL DISPLAY (45).

(33)SUB FADER

This control determines how much signal is present at the selected output. As with channel faders, optimum setting is at unity gain (0). If the output level is too quiet or too loud at unity gain, the GAIN and FADER settings on the channels assigned to the SUB mix should be checked. If two SUB mixes, SUB 1 and SUB 2 for example, are intended to be in stereo, adjust both FADERS equally and simultaneously to preserve balance.

RETURNS

(34)LOW CUT

This switch activates the low-cut (150 Hz -18 dB/per octave) filter. With this feature engaged, input frequencies below 150 Hz will be rejected. Especially when using reverb, the low-cut filter is useful in reducing “low-end rumble” and making resultant sounds less “muddy”.

(35)AUX 1 & AUX 2

These controls determine the level of the signal returned to the respective AUX bus, allowing musicians/singers to hear external effects.

NOTE: 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) due to the creation of an electronic feedback loop.

RQ 4300 Series specifications

The Peavey RQ 4300 Series is a versatile line of ultra-reliable mixing consoles designed to cater to a wide range of audio needs. Whether for live performances, studio recording, or installation in various venues, the RQ 4300 Series delivers exceptional audio quality and user-friendly features. One of the leading characteristics of this series is its robust construction, engineered to withstand demanding environments while ensuring longevity and stability.

At the heart of the RQ 4300 Series is a comprehensive input system that includes multiple channels with XLR and line inputs. This allows for seamless connections to microphones, instruments, and other audio sources. Each channel features a three-band EQ, giving users fine control over their audio mix. The EQ enables adjustments to boost or cut frequencies, assisting sound engineers in achieving the perfect tonal balance.

One standout feature of the RQ 4300 is its built-in effects processor. This processor offers a variety of effects ranging from reverb to delay, allowing users to enhance their sound without needing external effects units. This all-in-one approach simplifies the setup and reduces clutter in performance spaces or studios.

Additionally, the series incorporates Peavey’s high-quality preamps, known for their clarity and low noise levels. This ensures that every detail of the audio source is captured accurately, whether it's a subtle vocal nuance or the richness of an acoustic instrument. The RQ 4300’s dynamic range guarantees minimal distortion, maintaining audio fidelity throughout performances.

Another significant characteristic is the intuitive layout of controls. The console is designed for ease of use, with clear labeling and ergonomically placed faders and knobs. This user-centric design allows sound engineers to operate the console confidently, even during high-pressure situations like live shows.

Connectivity is further enhanced by the inclusion of stereo outputs, aux sends, and subgroups, which facilitate various routing options for mixed audio. This versatility supports diverse applications, making the RQ 4300 ideal for both novice users and experienced professionals.

In conclusion, the Peavey RQ 4300 Series stands out as a dependable choice for anyone in the audio industry. With its combination of rugged build quality, sophisticated features, and intuitive design, it empowers users to deliver outstanding sound in any setting. Whether for live sound reinforcement, studio tracking, or installation, the RQ 4300 is tailored to meet the demands of modern audio production.

Peavey RQ 4300 Series manual Threshold, SUB Groups, LEFT, RIGHT, Mono Output Assign, Mute/Mute Led

Models: RQ 4300 Series