(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

 

 

 

6

 

 

 

 

 

 

 

 

 

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

6

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Peavey RQ 4300 Series manual MID Freq

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.