Peavey ARTIST User manual

POWER AMP:
OUTPUT POWER @ 1 KHZ @ 120 VAC Line
Rated Power 120 W RMS a! rated load A OHMS / 2 OHMS
Power vs Load 90 W RMS @ 5% THD into 8 Ohms
120 W RMS <S> 5% THD into 4 Ohms
120 W RMS @ 5% THD into 2 Ohms
PEAK OUTPUT @ RATED LOAD 8 Amps & 20V. 240 Watts
MUSIC POWER OUTPUT @ RATED LOAD: 150 W RMS @ 5% THD
PRE-AMP:
INPUT CHARACTERISTICS (Tone controls full cw. Volume @ 12:00. master* full cw)
Sensitivity 20 mV @ 1 KHZ/input impedance: 330 K Ohms
Noise: 50 DB Open Ckt.. 55 DB 50 K Ohms. 60 DB Short Ckl*
DISTORTION @ 1 KHZ: Less than 0 5% THD @ Rated Output
FREQUENCY RESPONSE: 3 DB Down @ 40 HZ & 25 KHZ
TONE CONTROLS: + 10 DB @ 50 HZ ± 20 DB @ 5 KHZ
MIDDLE CONTROL: ± 10 DB @ 300 HZ
REVERB CONTROL: Continuously variable with footswitch cut olf
MASTER GAIN: Used in conjunction with input volume lo produce overdrive
Signal-to-noise ratio in DB below rated output

The “ARTIST” features an extremely compact
enclosure containing either a 12” or a 15° super heavy
duty professional grade speaker and is powered by a
TUBE TYPE 120 watt RMS (@ 5% THD) amplifier. A full
complement of Equalization controls is featured and in¬
cludes low, middle and high frequency controls for total
tonal balance between these frequency bands. We
have built into this series a new type of reverberation cir¬
cuit that delivers over 14 volts RMS to the built in
reverberation unit. The preamplifiers., equalization, and
reverb circuitry is complemented by a MASTER
VOLUME CONTROL for even greater control of sus¬
tain, dynamics and sensitivity for recording studio
applications. Our exclusive “AUTOMIX” ciruitry is built
into this series for even greater flexibilty and “on stage"
versatility.
Your new Artist features two channels, "Bright"
and “Normal” with four inputs that function along with
the Automix footswitch to allow you to play through
either channel, both channels in parallel, or both
channels in series. Please read the explanation of each
input and become familiar with the effects possible with
the Automix footswitch.
1 The Bright input places the signal from your
instrument into the bright channel only. This channel
provides treble boost for a "brighter” sound from your
guitar.
2 The Normal input places the signal from your
instrument into the normal channel only.
3 The Parallel input places the signal from your
instrument into both channels. Plugging into this
parallel jack is the same as using a patch cord lo bridge
into the normal and bright channels, except that the in¬
ternal circuitry automatically performs the patching
function. When plugged-into this jack, both normal and
bright channel volume controls are active and the
desired blend of each can be found by varying the level
of each, relative to the other.
4 The Series input places the signal from your
instrument into both channels in series. By placing the
channels in series incredible sustain and overload har¬
monics can be generated. Experimentation with various
combinations of volume control settings will yield an in¬
finite variety of harmonic characteristics and sustain
durations. These functions can be used in conjunction
with the master volume control to avoid driving the
power amplifier to full output while seeking the desired
effects enabling the operator to obtain sustain and
overload effects at very low volume levels, such as
those required in some recording studio applications.
5,6 Both the bright and normal channels have
separate volume controls. These volume controls set
the gain of the input preamp, thereby controlling the
sensitivity of the preamp, not the power of the amp. It
is entirely possible for the amp to be driven to full power
output on very low volume settings if the signal from
your instrument is extremely high. Please remember
that the volume conlrol does not indicate power output,
but the gain of the preamp.
7 The bass control varies the amount of bass
response in the system and is very effective in achieving
a balanced tonal blend.
8 The middle control enables the musician to tailor
the vital mid range response. Experimentation with the
unique middle circuit will show that it is much more
effective than conventional circuits.
9 The treble control varies the high end response of
the amplifier.
10 The reverb control determines the amount ol
delayed signal (reverb) blended into the output. This
circuit is able to produce tremendous sustain and clarily
by properly damping the driver coils of the reverb unit.
The reverb is effective in both channels.
11 The Standby Switch removes the B+ supply
from the output tubes while leaving the filament voltage
on. This function keeps the tubes at operating
temperature and allows for instant operation when the
Standby switch is thrown.
12 The master volume control is very useful for
obtaining a number of effects. The most common use of
this control is for obtaining overdrive and sustain at low
sound levels.
The master volume control is the final gain determining
element before the signal is fed into the output amplifier
and could more accurately be called a “sensitivity" con¬
trol. To obtain maximum overdrive and sustain, the in¬
dividual channel volume controls should be set near
maximum, and the output of the system should be ad¬
justed with the master volume control. You will discover
that many different and pleasing harmonic effects can
be obtained by trying different settings of the tone,
volume, and master volume controls. It has been found
that when operating the amp in the overdriven condi¬
tion. lower settings of the treble control tend to give a
smoother “natural distortion characteristic” The normal
background noise (hiss, hum, etc.) can be very effec¬
tively controlled for recording studio applications by use
of the master volume control. To reduce these noises,
reduce the setting of the master volume control
13 The pilot light indicates when the electrical
supply (mains) is supplying power to the amplifier
14 The fuse is located within the cap of the fuse
holder and should be replaced with one of the proper
value if it should fail. It is necessary that the proper value
fuse be used to avoid damage to the equipment and to
avoid voiding the warranty. If your amplifier repeatedly
blows fuses, the unit should be taken to a qualified ser¬
vice center for repair.
15 The line power switch is of the three posilion
type with the center position being off. The three posi¬
tion switch has two ON positions, one of which is used
to ground the amplifier properly. One of the ON
positions will yield the least hum or popping when the
instrument is touched and this is the position that should
be used.
For your safety, we have incorporated a 3 wire line
(mains) cable with a grounding lug. It is not advisable to

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remove the ground pin under any circumstances. If it is
necessary to use the amp with the old two prong
sockets, a suitable adaptor should be used. Much less
noise and greatly reduced shock hazard exists when
the amp is operated with the proper grounded recep¬
tacle.
16 The main speaker output Jack is where the
main speaker must be plugged in. The output im¬
pedance of this jack is 4 ohms.
17 The external speaker Jack is designed to allow
use of an additional speaker system with the Artist. 1 his
jack does not become operational until the main jack
has been connected to a speaker. Due to a special
switching jack which connects a separate 2 ohm tap on
the output transformer, a 4 ohm load may also be con¬
nected into this jack—thus allowing the amp to put out
full power into a total impedance of 2 ohms when an ex¬
tension speaker is desired. The output impedance of
the Artist is 4 ohms when the main speaker jack is used
and 2 ohms when both are used. NOTE: No less than a
4 ohm speaker system should ever be connected to
either speaker jack.
These and all other high power tube type amplifiers
must be used in the proper manner to avoid damage to
tubes and other internal components. Below are several
instructions that must be followed when operating high
powered tube type equipment.
A. NEVER OPERATE THE AMPLIFIER WITHOUT A
SPEAKER LOAD!! This amp is equipped with a shorting
system on the main output jack to help protect against
accidentally turning on the amp without a load. If the
speaker patch cord is plugged into the amp. but not
connected to the speakers, the amp is NOT loaded and
could cause problems if the amp is turned on and
operated in this manner. The natural inductance of the
output transformer can store energy that normally is
transferred to the speaker and is capable of developing
tremendous voltages. These voltages can cause serious
internal arcing between the elements of the output tubes
and their related circuitry. This is the MOST important
consideration in the safe operation of your tube amp.
B. The 6L6GC output tubes are the most rugged audio
power tubes on the market and should provide long ser¬
vice in the output circuit. Each tube has a keying pin
moulded into the base to index the pins into their proper
positions. When installing or removing the tubes, it is
possible to break off these index pins by bending the
tube too much in its socket. Use extreme caution when
handling the tubes. UNDER NO CIRCUMSTANCES
SHOULD TUBES WITH BROKEN OR MISSING INDEX
PINS BE INSERTED IN THE SOCKETS. If a tube is in¬
serted in the improper manner (wrong indexing), the
output stage will instantly be damaged when the unit is
turned on. Use of tubes with broken or missing index
pins voids the warranty.
18 A “Din” Socket is located on the back panel for
the Automix tootswilch. Care should be taken to proper¬
ly mate the connectors of the footswitch plug with the
respective socket holes.
FOOTSWITCH
Selector Button
As the name implies, the selector button allows
you to select between the normal and bright channels.
This button is functional with your instrument plugged
into either the series or parallel input.
Combiner Button
The combiner button deactivates the selector
button and allows both channels to be in the circuit at
one time. The selector button becomes inoperative as
soon as the combiner button is depressed.
Reverb
The reverb button activates reverb on both channels.