(36)1/2, 3/4, L/R, MONO (ASSIGN)

Like the channel assign switches, these buttons determine the bus assignment of the input signal. They determine where the return signal is being sent.

(37)BAL/PAN

This control determines the placement of the signal in its assigned bus. Rotating the control counterclockwise (L) sends more signal to the LEFT output and odd-numbered SUBS; rotating clockwise (R) sends more signal to the RIGHT output and even-numbered SUBS. The C position sends equal amounts to each.

(38)LEVEL

This control determines the level of the signal being sent to its assigned bus(es). It functions similarly to the CHANNEL FADERS (16).

(39)MUTE SWITCH/MUTE-CLIP LED

Like the other mutes on the console, this switch interrupts the input signal being sent to the bus(es). Red LED illumination indicates activation. When MUTE is not engaged, the LED functions as a clip (PK) indicator that illuminates at 2 dB below clipping.

(40)AFL SWITCH/AFL-SIGNAL LED

This switch directs the post-fader (AFL) signal to the HEADPHONE OUTPUT (42), and to the AFL/PFL LEVEL DISPLAY (45). An adjacent LED illuminates to signify this selection. If AFL is not selected, the LED will blink as an indication of signal presence (-20 dBu).

(41)PHANTOM POWER

These switches apply power (+48 V DC) to the MIC inputs (6) on CHANNELS 1–16 and

17–24 respectively (1–24 and 25–32 on the RQ 4332). This feature provides power to microphones that need an external power source. These switches are recessed into the console and require a small “tool” to activate. If PHANTOM POWER is used, do not connect unbalanced dynamic microphones or other devices that cannot handle this voltage to the XLR inputs. (Some wireless receivers may be damaged. Consult their manuals). A regular low- impedance mic such as the PVM™ 22 will not be harmed. The LINE inputs (2) are not connected to the +48 V supply and are safe for balanced or unbalanced inputs. An adjacent LED will illuminate when PHANTOM POWER is activated on its respective channels.

(42)HEADPHONE OUTPUT

This stereo output jack (TRS) provides the signal to drive headphones. Signal to this output is L/R unless AFL or PFL is activated.

(43)HEADPHONE LEVEL

This control adjusts the volume of the signal being sent to the HEADPHONE OUTPUT (42).

(44)LEFT/RIGHT LEVEL DISPLAYS

These indicators graphically display the signal level being sent to the LEFT or RIGHT outputs (L, R). Signal is sampled at the summing amp and post-master faders to monitor clipping throughout the Left/Right and MONO MASTER section. The CLIP indicator will illuminate when signal approaches (-2 dB) clipping.

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

(45)MONO — AFL/PFL LEVEL DISPLAY

This indicator graphically displays the signal level being sent to the MONO output. When any AFL/PFL switch on the mixer is activated, this display indicates the signal level being sent to the AFL/PFL bus. The AFL/PFL indicator flashes if either mode (AFL or PFL) is selected.

(46)MONO MASTER FADER

This control determines the level of the output signal sent to the MONO output. An adjacent

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Peavey RQ 4300 Series manual Phantom Power, Headphone Output, Headphone Level, LEFT/RIGHT Level Displays, Mono Master Fader
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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.
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