Инструкции Пользователя для Peavey PV® 10 BT
MIC/LINE INPUT (CH.1-8)
This combination input jack accepts a ¼” or XLR balanced plug. The XLR balanced input is optimized
for a microphone or other low impedance source. The ¼” input is a TRS balanced type, and also accepts
ordinary TS guitar cables.
for a microphone or other low impedance source. The ¼” input is a TRS balanced type, and also accepts
ordinary TS guitar cables.
DIRECT OUT
This impedance-balanced TRS output signal is taken after the mic preamp, hi pass filter, and compressor,
but before the EQ stage.
but before the EQ stage.
AUTO-TUNE ACTIVATION BUTTON AND LED (PV10AT only)
Pressing this button activates the PV10AT's onboard AUTO-TUNE feature. The button illuminates when
in AUTO-TUNE mode (SEE Effects Select {50} and the following page).
in AUTO-TUNE mode (SEE Effects Select {50} and the following page).
GAIN
The Input Gain control is used to establish proper gain structure in the channel. For best results, use the
Solo system (19) to monitor the channel while you set the gain. The goal is maximum gain without distor-
tion. Both the main LED meters (during Solo) and the channel’s Signal/Clip indicator (16,17) can be used
for adjusting gain. If the clip LED (16) comes on and remains lit, try reducing the gain.
Solo system (19) to monitor the channel while you set the gain. The goal is maximum gain without distor-
tion. Both the main LED meters (during Solo) and the channel’s Signal/Clip indicator (16,17) can be used
for adjusting gain. If the clip LED (16) comes on and remains lit, try reducing the gain.
150 Hz HI PASS FILTER
The hi pass filter has a corner frequency of 150 Hz. When engaged‚ it can improve clarity by removing
low frequencies that make a mix sound muddy. This feature is especially useful when playing outside on a
windy day or on a hollow-sounding‚ noisy stage. These kinds of ambient noises can rob your sound system
of power. Engaging this switch will remove those frequencies from the system and restore power where
needed.
low frequencies that make a mix sound muddy. This feature is especially useful when playing outside on a
windy day or on a hollow-sounding‚ noisy stage. These kinds of ambient noises can rob your sound system
of power. Engaging this switch will remove those frequencies from the system and restore power where
needed.
COMPRESSION CONTROL (Channels 1 and 2 only)
Adjusting this knob clockwise lowers the threshold of the compressor, thereby increasing the amount of
compression. The compressor ratio is in the 4:1 range, varying with signal levels and the amount of com-
pression. This is useful for controlling peak levels from live sources, and has been designed to subtly tame
the levels of live vocals without noticeable artifacts. The compressor is after the gain control (5) and the hi
pass filter (4), but before the direct out (2), so it can be patched to external equipment.
compression. The compressor ratio is in the 4:1 range, varying with signal levels and the amount of com-
pression. This is useful for controlling peak levels from live sources, and has been designed to subtly tame
the levels of live vocals without noticeable artifacts. The compressor is after the gain control (5) and the hi
pass filter (4), but before the direct out (2), so it can be patched to external equipment.
Compressor LED
This LED illuminates when the compressor is actively compressing a signal.
Hi EQ
This active tone control (shelving type: ±15 dB) varies the level of the high frequency range.
MID-MORPH EQ (CH. 1-7)
Where most mid-range controls work at just one frequency, the Mid-Morph works at two. When turned
counterclockwise, it cuts at 250Hz to reduce frequencies that muddy the sound. When turned clockwise,
it boosts at 4kHz to add intelligibility to vocals. Either way, improved vocal or instrument definition can
be achieved.
counterclockwise, it cuts at 250Hz to reduce frequencies that muddy the sound. When turned clockwise,
it boosts at 4kHz to add intelligibility to vocals. Either way, improved vocal or instrument definition can
be achieved.
Low EQ
This active tone control (shelving type: ±15 dB) varies the level of the low frequency range. Caution: Ex-
cessive low frequency boost causes greater power consumption and increases the possibility of speaker
damage.
cessive low frequency boost causes greater power consumption and increases the possibility of speaker
damage.
EQ BYPASS
Engaging this button bypasses the equalization of the channel, allowing you to easily hear the effect of
the EQ settings.
the EQ settings.
AUX SEND
This control adjusts the level of the channel signal sent to the Aux output. The signal is taken before the
channel level (18) but after the channel EQ, meaning that changes to the EQ settings will affect the aux
mix, but changes to the channel level control won't. Typical use for the Aux bus is to feed stage monitors,
when used in a live performance, or to feed headphone amplifiers in a recording situation.
channel level (18) but after the channel EQ, meaning that changes to the EQ settings will affect the aux
mix, but changes to the channel level control won't. Typical use for the Aux bus is to feed stage monitors,
when used in a live performance, or to feed headphone amplifiers in a recording situation.
1
2
3
4
5
6
8
9
10
11
12
13
14
15
18
19
7
16
17
PV10AT Front Panel (channels 1 and 2)
1
2
3
4
7
9
5
6
8
10
11
12
1
DIRECT OUT
LEVEL
min
max
HIGH
LOW
0
-
+
min
max
0
-
+
min
max
PAN
c
R
L
left
right
EFX
min
max
AUX
min
max
COMP
min
max
SIGNAL
CLIP
GAIN
1
min
max
SOLO
comp
HI PASS
EQ BYPASS
MID-MORPH
0
low
high
-
+
1
comp
comp
SIGN
MUTE
AT