Peavey ARTIST User manual

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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

•

^

©

®

®

y

w

-VC

/

\

1

.

y

v

,

®

@

®

©

®

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.