Peavey Bandit 65 User manual

WARNING

TO

PREVENT

ELECTRICAL

SHOCK

OR

FIRE

HAZARD,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE.

BEFORE

USING

THIS

APPLIANCE,

READ

BACK

COVER

FOR

FURTHER

WARNINGS.

BANDIT"

65

OT

RATING

GUIDE

GENERAL

DESCRIPTION

The

Bandit™

65

produces

65

watts

RMS

system

into

an

8

ohm

load

and

features

many

new

ideas

which

our

R

&

D

program

has

recently

designed

to

enhance

the

warmth

and

smooth

operating

characteristics

normally

found

only

with

tube

amplifiers.

This

unit

is

ruggedly

constructed

from

3/4"

material

and

is

covered

with

very

heavy

34

oz.

vinyi,

which

has

proven

to

be

unmatched

for

roadability

and

durability.

The

Bandit™

also

features

our

new

Gain

Block™

which

consists

of

three

controis;

pre

gain,

Saturation™

and

post

gain.

This

Gain

Block™

allows

the

player

total

control

of

the

overall

texture

of

harmonic

content

and

overload

characteristics

by

varying

theamount

of

driveof

the

pre

gain

and

the

Saturation™

control

and

finally,

adjusting

the

post

gain

to

the

desired

output

level.

The

combination

of

the

input

dynamics.

Saturation™

effect,

and

the

extremely

effective

equalization

circuit

enables

the

Bandit™

to

quite

literally

simulate

almost

any

guitar

sound

available

from

any

amp,

old

or

new.

This

unit

also

features

a

second

normal

channel

that

is

footswitch

selectable

and

incorporates

our

unique

automatic

switching

circuitry

now

being

copied

by

so

many

of

our

competitors.

In

addition

to

the

above,

we

have

included

our

newly

designed

Scorpion™

loudspeaker

whose

characteristics

have

been

carefully

matched

to

complement

the

frequency

response,

power

output,

and

damping

factor

of

the

Bandit's™

power

amplifier.

o

□

CO

in|

[\j

□

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m

m/

<

ml

■

POWER

SWITCH

(ON/OF!-):

The

AC

power

switch

Is

the

conventional

rocker

type

which

Indicates

off

at

the

bottom

and

on

at

the

top.

■

GROUND

LIFT

SWITCH:

This

switch

Is

the

three-position

type

with

the

center

position

completely

removing

the

Internal

grounding

capacitor

from

the

circuit.

This

position

Is

normally

recommended

for

situations

where

the

AC

power

receptlcle

Is

known

to

contain

a

properly

grounded

third

wire.

If

properly

grounded

AC

mains

supply

Is

not

available,

suitable

ground

lift

adaptor

should

be

used.

The

(+

and

-)

positions

are

used

to

ground

the

amplifier

properly

when

only

two-wire

services

are

available.

One

of

these

positions

will

yield

the

lowest

amount

of

residual

hum

or

"popping"

when

the

Instrument

Is

touched.

-PILOT

LED:

The

pilot

LED

Indicates

when

the

unit

Is

receiving

electrical

supply

from

the

mains

and

Is

operational.

■

MASTER

REVERB

CONTROL:

The

master

reverb

control

determines

the

desired

amount

of

reverberation

from

the

Internal

reverb

system.

Clockwise

rotation

Increases

the

reverb

effect

and

counterclockwise

decreases

the

effect.

PRESENCE

CONTROL:

The

presence

Is

an

active

high

frequency

EQ

with

cut

and

boost

capability.

This

control

may

be

used

similarly

to

a

bright

boost

for

the

upper

range

of

frequencies

when

additional

bite

Is

desired.

■

HIGH/PULL

THICK:

The

high

EQ

control

Is

similar

In

operation

to

a

typical

passive

treble

control

and

varies

response

of

the

high

end

at

frequencies

below

the

effect

of

the

presence

control.

The

pull

switch

on

the

high

control

activates

the

"thick"

mid

range

boosted

tonality

which

Is

very

popular

with

rock

players.

Notice

that

the

bass

and

mid

controls

have

little

effect

when

pull

thick

Is

activated.

■

MID

FREQUENCY

CONTROL:

The

mid

control

determines

the

tonal

ity

of

the

vital

mid

range

frequency

band.

The

mid

frequencies

contribute

a

large

part

of

the

overall

tonality

for

guitar

In

all

forms

of

music.

Clockwise

rotation

will

allow

mid

frequencies

to

project

while

counterclockwise

rotation

wll

i

cause

tonality

to

become

much

thinner.

Adjust

to

personal

taste.

■

LOW

FREQUENCY

CONTROL:

The

low

frequency

control

adjusts

the

tonality

for

the

amount

of

smoothness

and

offers

extended

bandwidth

on

the

low

end

of

the

tonal

range.

Care

should

be

taken

to

not

overboost

with

this

control

to

avoid

muddiness

and

premature

overdriving

of

the

power

amp.

Extreme

overboosting

of

bass

frequencies

tends

to

distract

from

the

projection

capabi

lity

of

the

amplifier

and

confuses

material

which

should

be

heard

for

lead

guitar

lines.

•

NORMAL

GAIN

CONTROL/PULL

BRIGHT:

The

normal

gain

control

determines

the

overall

level

of

the

normal

channel.

This

channel

Is

accessible

only

with

the

remote

footswitch

and

utilizes

the

EQ

circuit

above.

The

normal

channel

gain

Is

unaiffected

by

the

post

(master)

gain

and

works

Independently

for

a

clean

sound

when

no

distortion

Is

desired.

When

the

normal

channel

Is

selected,

the

pull

thick

feature

Is

defeated

and

EQ

controls

function

normally.

Notice

also

that

Saturation^'

Is

not

functional

with

the

normal

channel.

The

normal

channel

gain

also

Includes

a

pull

bright

feature

for

additional

biteor

edge

on

the

high

frequencies

when

the

control

knob

Is

pulled.

■

GAIN

BLOCK":

The

Bandit"

has

been

designed

utilizing

our

new

Gain

Block"

signal

processing

front

end.

The

provision

of

three

Interacting

controls

allows

total

control

of

the

amp's

gain

structure

(dynamics),

harmonic

content,

overload

texture,

and

output

level.

Each

of

the

three

control

functions

must

be

understood

and

adequate

experlmentsitlon

time

must

be

spent

In

order

to

fully

utilize

the

potential

of

this

unique

and

Innovative

Gain

Block"

circuitry.

•

POST

GAIN

CONTROL:

The

post

gain

control

regulates

the

overall

gain

(sensitivity)

of

the

lead

Gain

Biock"

and

Is

conventional

In

operation.

The

post

control*may

be

used

exactly

like

any

other

master

gain

control.

Caution

must

be

exercised

to

keep

the

post

gain

near

the

mid

point

of

Its

travel

to

prevent

excessive

clipping

of

the

power

section.

An

approximate

setting

of

12

o'clock

should

be

maintained

for

maximum

headroom.

When

overload

Is

desired

with

the

pre

gain

and

Saturation",

the

post

gain

may

be

adjusted

to

lower

settings.

Adjustto

personal

taste.

-SATURATION"

CQNTRQL:

The

Saturation™

control

Is

a

function

of

the

preamp

circuitry

and

very

closely

simulates

warm,

tube-type,

harmonic

overloads.

This

control

creates

preamp

overload

and

works

In

conjunction

with

the

pre

and

post

gain

controls

In

the

lead

Gain

Block™.

When

using

Saturation™

the

post

gain

should

always

be

at

5

or

below

to

ensure

that

the

power

amp

section

remains

clean,

so

the

tube-type

compression

effect

Is

accomplished

with

the

preamp.

The

gain

compression

effect

Is

increased

as

the

Saturation"

control

Is

rotated

clockwise.

■

PRE

GAIN

CONTROL:

The

pre

gain

control

for

the

lead

Gain

Block™

determines

the

Input

level

and

functions

similar

to

any

typical

channel

gain

control.

This

control

should

be

operated

with

sufficient

gain

to

drive

the

Saturation™

control

for

the

smooth,

compressed,

tube-type

overload.

Please

be

aware

that

this

control

exhibits

an

audio

taper

and

develops

approximately

IMgaIn

at

the

12

o'clock

position

with

the

balance

being

obtained

as

the

control

Is

rotated

clockwise.

After

adjusting

the

post

gain

to

Its

approximate

mid

point

position,

the

pre

gain

control

should

be

set

once

again

to

your

personal

taste

for

your

particular

style

of

music.

This

control

features

a

pull

switch

for

extra

brightness

when

the

knob

Is

pulled

outward

slightly.

Saturation™

generally

sounds

better

without

the

bright

feature

activated.

•INPUTS:

The

new

Bandit™

has

been

provided

with

two

Input

jacks,

each

having

different

sensitivities

and

a

unique

arrangement

allowing

the

gain

of

both

jacks

to

be

equalized

when

Instruments

are

plugged

Into

both

Inputs.

The

high

gain

jack

is

the

Input

normally

used

for

most

Instruments

and

has

considerably

more

sensitivity

than

the

low

gain

jack.

The

lowgain

jack

Is

6dB

less

sensitive

than

the

high

gain

Input

and

should

be

used

when

the

signal

from

your

Instrument

Is

very

hot

and

premature

overloading

of

the

Input

Is

detected.

Many

times

the

or

low

gain

Input

should

be

used

when

extremely

hot

signals

are

available

from

other

preampssuch

as

effects

devices,

etc.

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SET

UP

AND

OPERATIONS

INSTRUCTIONS

The

procedure

for

arriving

at

optimum

controi

settings

with

any

particular

guitar

and

equalization

characteristics

are

as

follows:

1.

Plug

into

the

high

or

low gain

input

jack.

2.

Set

the

post

gain

control

somewhere

in

the

middle

of

its

range.

3.

Set

the

pre

gain

control

somewhere

in

the

middle

of

its

range.

4.

Adjust

the

Saturation'"

control

for

the

desired

amount

of

gain/compressed

clipping.

5.

Readjust

the

pre

gain

controi

to

assure

adequate

drive.

6.

Readjust

the

post

gain

control

just

below

the

point

at

which

the

power

amp/

speaker

reaches

the

clipping

point

and

adds

its

own

harmonics

to

the

predistorted

signal.

This

setting

is

readily

noticeable

since

the

additional

harmonics

are

audible

when

the

power

amp

reaches

its

maximum

output

level

and

will

not

necessarily

be

pleasing

to

the

ear.

NOTE:

TO

ACHIEVE

PROPER

SATURATION'"

CHARACTERISTICS

FROM

YOUR

AMPLIFIER

YOU

MUST

UNDERSTAND

THAT

THE

MAJOR

PORTION

OF

THE

SIGNAL

PROCESSING

CiRCUIT

IS

LOCATED

IN

THE

PREAMP

AND

THAT,

WHEN

THE

POST

GAIN

IS

SET

HIGH

ENOUGH

(GENERALLY

"5"

OR

HIGHER),

THE

POWER

AMP

THEN

BEGINS

ADDING

ITS

OWN

HARMONICS

TO

THOSE

ALREADY

BEING

GENERATED

BY

THE

SATURATION'"

CIRCUITRY.

EXPERIENCE

HAS

PROVEN

THAT

THE

BEST

OVERALL

RESULTS

ARE

OBTAINED

WHEN

ALL

THE

OVERLOAD

IS

TAKING

PLACE

WITHIN

THE

SATURATION'"

CIRCUITRY,

WHILE

THE

INTERNAL

POWER

AMPLIFIER/SPEAKER

REMAINS

BELOW

THE

CLIPPING

POINT.

WHEN

PROPERLY

SET

UP

THE

SATURATION'"

FEATURE

OPERATES

THE

POWER

AMP

JUST

BELOW

MAXIMUM

POWER

(ITS

CLIPPING

POINT)

ADDING

TOTAL

AND

SMOOTH

OVERLOAD

CHARACTERISTICS.

WHEN

POWER

AMP

CLIPPING

TAKES

PLACE,

THE

OUTPUT

DOES

NOT

BECOME

LOUDER,

JUST

MORE

DISTORTED

AND

SOMEWHAT

LESS

PLEASING.

SPECIAL

NOTE:

CONSIDERABLE

EMPHASIS

HAS

BEEN

PLACED

ON

THE

OPTIMUM

SETTING

OF

THE

POST

GAIN

CONTROL

IN

ORDER

TO

ACHIEVESMOOTH

SATURATION'"

EFFECT

WITHOUT

POWER

AMP

OVERLOAD.

IF,

HOWEVER,

A

NORMAL

GLEAN

USAGE

IS

DESIRED

THE

OPTIMUM

SETTING

OF

THE

POST

GAIN

CONTROL

IS

"10"

(FULL

CLOCKWISE).

THIS

SETTING

PROVIDES

THE

MAXIMUM

SENSITIVITY

FOR

THE

POWER

AMP

AND

YIELDS

THE

MAXIMUM

HEADROOM

IN

THE

PREAMP

AND

TONE

STAGES,

THEREBY

PREVENTING

ANY

PREMATURE

FRONT

END

OVERLOAD

BEFORE

THE

POWER

AMP

ITSELF

CLIPS.

NOTICE

THE

OBJECT

HERE

IS

JUST

THE

OPPOSITE

OF

THAT

OF

THE

SATURATION'"

EFFECT.

THE

AUTOMIX'"

CIRCUITRY

ALLOWS

THE

PLAYER

TO

ACHIEVE

DISTORTION

(SATURATION'")

IN

THE

LEAD

CHANNEL

WHILE,

AT

THE

SAME

TIME,

ATTAINING

A

CLEAN

RESPONSE

IN

THE

NORMAL

CHANNEL.

FOR

THIS

REASON,

THE

NORMAL

CHANNEL

GAIN

CONTROL

IS

NOT

AFFECTED

BY

THE

POST

CAIN

AND

IS

THE

SINGLE

DETERMINING

ELEMENT

FOR

THE

LEVEL

OF

THE

NORMAL

CHANNEL.

WHEN

THE

FOOTSWITCH

IS

USED

TO

SELECT

BETWEEN

THE

SATURATED

OR

OVERLOADED

CHANNEL

AND

THE

CLEAN,

NORMAL

CHANNEL

IT

IS

CONVENIENT

THAT

THE

PULL

THICK

FEATURE

DROPS

OUT

AND

ALSO

THE

POST

CAIN

CONTROL

DOES

NOT

GOME

INTO

EFFECT

FOR

THE

NORMAL

CHANNEL.

THIS

ALLOWS

THE

PLAYER

TO

PRESET

THE

BALANCE

BETWEEN

THE

PRE

CAIN,

SATURATION'",

AND

POST

CAIN

OF

THE

LEAD

CAIN

BLOCK'"

FOR

ANY

DESIRED

OVERLOAD

AND

SWITCH

BACK

TO

THE

NORMAL

CHANNEL

FOR

A

TOTALLY

CLEAN

SOUND

WITHOUT

INTERFERENCE

OF

THOSE

TWO

CONDITIONS.

REAR

PANEL

REMOTE

SWITCH

JACK;

The

remote

switch

jack

isof

the

two

circuit

(stereo)

type

featuring

ring-tip-sleeve

construction.

Onecircuit

of

this

jack

controls

Automix'"

channel

switching

function

enabling

selection

of

either

the

lead

or

normal

channel,

while

the

other

controls

the

reverberation

signal.

Remote

switching

is

accomplished

through

the

use

of

the

supplied

Automix™

footswitch,

which

is

conventional

in

function

and

should

present

no

operational

difficulty.

Please

note

when

plugging

in

the

Automix™

footswitch

to

be

sure

and

insert

the

plug

all

the

way

("second

click")

into

the

jack.

Failure

to

insert

the

plug

all

the

way

will

not

allow

full

function

of

the

footswitch.

190

VAC

60

Hz

SOD

WATTS

CAUTION

TO

PREVENT

THE

RISK

OF

FIRE

AND

SHOCK

HAZARD.

00

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE

DO

NOT

REMOVE

FROM

CASE.

NO

USER

SERVICEABLE

PARTS

INSIDE.

REFER

SERVICING

TO

QUALIFIED

SERVICE

PERSONNEL.

AVIS:

RISQUE

DE

CHOC

ELECTRIQUE

-

NE

PAS

OUVRIR.

7^/

BANDIT^

65

SOLOtm

series

MUSICAL

INSTRUMENT

SYSTEM

PWR,

PRE

FT.

SV

AMPAMP

IN

OUT

y

CIPCUITRY

PATENT

PENDING

A

PRODUCT

DF

PEAVEY

ELECTRONICS

CDHP.

MERIDIAN,

MS

MADE

IN

U.S.A.

LINE

CORD:

For

your

safety

we

have

incorporated

a3-wireline

(mains)

cable

on

the

bottom

of

the

chassis

with

proper

grounding

facilities.

It

is

not

advisable

to

remove

the

ground

under

any

circumstances.

If

it

is

necessary

to

use

the

amplifier

without

proper

grounding

facilities,

suitable

grounding

adapter's

should

be

used.

Much

less

noise

and

greatly

reduced

shock

hazard

exists

when

the

unit

is

operated

with

the

proper

grounded

receptacles.

BANDIT'"

130

SPECS;

POWER

AMPLIFIER

SPECIFICATIONS:

RATED

POWER

&

LOAD:

65

W

RMS

into

8

ohms

POWER

@

CUPPING:

(5%

THD,

1

KHz,

120

VAC

line)

Typically;

40

W

RMS

into

16

ohms

70

W

RMS

into

8

ohms

50

W

RMS

into

4

ohms

2

ohms

not

recommended

FREQUENCY

RESPONSE:

+0,

-1

dB,

60

Hz

to

20

KHz

@

50

watts

into

8

ohms

TOTAL

HARMONIC

DISTORTION:

Less

than

0.2%,

100

mW

to

50

W

RMS,

60

Hz

to

10

KHz,

8

ohms,

typically

below

0.1%

HUM

&

NOISE:

Greater

than

90

dB

below

rated

power

POWER

REQUIREMENTS:

(Domestic)

200

W

RMS,

50/60

Hz,

120

VAC

PREAMP

SECTION:

PREAMP

OUTPUT/POWER

AMP

INPUT:

To

allow

in-line

patching

of

the

various

accessories,

we

have

Included

a

system

of

preamp

out/power

amp

in

jacks

on

the

rear

panel.

Preamp

out

is

a

straight

preamp

signal

which

is

the

SUM

of

the

outputs

of

the

two

channels

plus

reverb.

The

output

level

is

approximately

1

volt

RMS

and

is

a

relatively

low

600

ohm

impedance

source.

The

preamp

out

signal

is

connected

through

a

switching

contact

to

the

poweramp

input

jack

and

normally

the

preamp

out

is

internally

connected

to

the

power

amps

input.

This

circuit

allows

basically

two

modes

of

operation.

tWhen

signal

is

taken

from

the

preamp

output,

signal

is

also

delivered

to

the

internal

power

amplifier.

For

instance,

a

preamp

signal

may

be

patched

out

to

some

effects

device

or

to

another

power

amplifier

without

interrupting

the

signal

delivered

to

the

internal

power

amp.

There

is

a

switching

jack,

however,

on

the

input

of

the

power

amp

and

whenever

a

phone

plug

is

inserted

into

the

power

amp

input

the

internal

preamp

signal

is

disconnected.

The

typical

patch

for

in-line

effects

devices

would

be

to

use

shielded

cable

and

connect

from

the

preamp

output

into

the

input

of

the

effects

device

and

from

the

output

of

the

effects

device

back

into

the

power

amp

input

thus

completing

the

loop.

Please

note

that

line

level

devices

are

required

to

interface

with

this

preamp

out/power

amp

input

loop

capability

and

devices

that

will

not

function

properly

on

line

levels

should

not

be

used.

Most

effects

devices

that

are

designed

to

go

between

a

guitar

andtheinputoftheguitaramplifierwill

not

function

properly

in

this

situation

where

line

levels

are

required

because

the

1

volt

RMS

output

of

the

preamp

signal

will

usually

break

up

or

distort

those

devices

at

their

Input.

THE

FOLLOWING

SPECS

ARE

MEASURED

@

1

KHz

WITH

THE

CONTROLS

PRESET

AS

FOLLOWS:

LEAD

GAIN

PULL

BRIGHT

OFF

(IN)

SATURATION

"

@

0

POST

GAIN

@

10

NORMAL

PRE

GAIN

@

0

NORMAL

GAIN

PULL

BRIGHT

OFF

(IN)

LOW

8,

HIGH

EO

@

10

MID

EG

@

0

PULL

THICK

OFF

(IN)

PRESENCE

@

0

REVERB

@

0

NOMINAL

LEVELS

ARE

WITH

PRE

GAIN

@

5,

MINIMUM

LEVELS

ARE

WITH

PRE

GAIN

@

10

PREAMP

INPUT

CHARACTERISTICS:

JACK

A

INPUT:

Impedance:

High

Z.

220K

ohms

Nominal

Input

Level:

-28

dBV,

40

mV

RMS

Minimum

Input

Level:

-46

dBV,

5

mV

RMS

Maximum

Input

Level:

■'■4

dBV,

1.5V

RMS

JACK

B

INPUT:

Impedance:

High

Z,

44K

ohms

Nominal

Input

Level;

-22

dBV,

80

mV

RMS

Minimum

Input

Level:

-40

dBV,

10

mV

RMS

Maximum

Input

Level:

+10

dBV,

3V

RMS

PREAMP

OUTPUT:

Load

Impedance:

IK

ohms

or

greater

Nominal

Output:

0

dBV,

IV

RMS

POWER

AMP

INPUT:

Impedance:

High

Z,

22K

ohms

Nominal

Input

Level:

0

dBV,

IV

RMS

SYSTEM

HUM

&

NOISE

@

NOMINAL

INPUT

LEVEL:

20

Hz

to

20

KHz,

unweighted:

72

dB

below

rated

power

EQUALIZATION:

Special

low.

mid

and

high

passive

type

EQ

circuitry,

special

presence

active

EQ

circuitry,

AUTOMIX"

FEATURES:

Reverb

function

defeated

with

footswitch

Normal

channel

only

operational

with

footswitch

Pull

thick

and

post

gain

defeated

in

normal

channel

DANGER

EXPOSUFIE

TO

EXTREMELY

HIGH

NOISE

LEVELS

MAY

CAUSE

A

PERMANENT

HEARING

LOSS.

INDIVIDUALS

VARY

CONSIDERABLY

IN

SUSCEPTIBILITY

TO

NOISE

INDUCED

HEARING

LOSS,

BUT

NEARLY

EVERYONE

WILL

LOSE

SOME

HEARING

IF

EXPOSED

TO

SUFFICIENTLY

INTENSE

NOISE

FOR

A

SUFFICIENT

TIME.

THE

U.S.

GOVERNMENT'S

OCCUPATIONAL

SAFETY

AND

HEALTH

ADMINISTRATION

(OSHA)

HAS

SPECIFIED

THE

FOLLOWING

PERMISSIBLE

NOISE

LEVEL

EXPOSURES-

DURATION

PER

DAY

IN

HOURS.

SOUND

LEVEL

dSA,

SLOW

RESPONSE

8

90

6

92

ACCORDING..T:0;;e6ft«j:««Y.

EXI

EAR

PLUG6l0fil:efi!Gt^e£:®aftfi;;fN

THE

EXPOSU8gtS:f«-EXCES5WW£

LIMITS

PERSON3:-eX0CSED

TO

EaaVRlteNT

"

'

UNIT

IS;a^:0?eFlATION

:

EA

THIS

Aj#tfSiER

HAS

BEEN

DESI

HANDLi^StCCASIONAL

PEAK

PO'

RECOMttetJCSDSINCE

THfSSiGULD

Q

CONTROjiSfJK^T-HE

INPU.TSStQf^fAL

If

1

lU:ud

msuuciion!;

biilur^

produci

safely

and

operaling

instructions

should

be

n

R

C!««SCft::-dR

OVER

I

■

M

LAiLtMi

'

i

ITS

ASlSgiJSiMtH

ABOVE.

rSliSiSURE

i

.F

IISSIBLE

LtofTS

W4.60M6

HEilSfttSa

LOSS.

1ST

8EW<)St<:.WHEI)it^&BEfiA'^t»S:TWfS-«i»PLtF(C«TiONSYSTSM!4Nl£^OEBI:T©:PRBVeNTAPEBMA«6hJTHeARi(i^tbsSlF

■i

AGAINgj;SS3TENriA"i:LY-ti&S(S£fidUS

EXPOStifiSTO

HIGK;g<3i{fi»

PRESSUHeifcEVELS.

l1?:t6!a6CdW.MENDE®fE«*T

ALL

ND

PRESSkH^

levels

SUCH:AS:THISAMPLIFtCj«iiS:JON

SYSJi^lSE

PROTECTEtSeWlHEARIfWaflRpirtCTORSriilSStttf

THIS

futuri

Obey

a

■k

of

tl-

1

the

operating

4.

All

operaling

instructions

should

be

Ic

5.

T^hls

product

should

not

be

used

near

^ink,

swimming

pool,

wet

basement,

e

;6,

/This

product

should

be

located

so

the-

interlere

with

its

proper

ventilation,

it

:

flat

against

a

wail

or

placed

in

a

built-

Impede

the

llow

ot

cooling

air

,

7.^

jThis

product

should

not

be

placed

rear

power

supply

c#;aj9::^pe

marked

ortJhe^tfnit

■

power

supply

cSSiHiiV-

Si-L-iliB?

9.

Never

break

off

the

ground

pjn

on

the

power

supply

cord

For

more

imormaiion

on

grounding

write

tor

our

free-booklet

"Shock

Hazard

and

Grounding."

10

Power

supply

cords

should

always

be

handled

carefully

Never

walk

or

place

equipment

on

power

supply

cords

Periodically

check

cords

for

cutsorsigns

distress,

especially

at

the

plug

and

the

point

where

the

cord

exits

the

unit

11.

The

power

supply

cord

should

be

unplugged

when

the

unil

is

to

be

unused

for

long

periods

of

time.

12

Metal

parts

can

be

cleaned

with

a

damp

rag

The

vinyl

covering

used

on

some

units

can

be

cleaned

with

a

damp

rag.

d

cleaner

it

necessary

C«e«r6t>fcJ

fj((-ti»'5.'n

•-(

the

uni

diner

openings

by

a

qualitied

service

lechmcia.

or

plug

has

been

damaged.

The

power

supply

cord

or

plug

has

b

Anything

has

lalien

or

been

spilled

In

The

unit

does

not

operate

correctly

The

unit

has

been

dropped

or

the

enclosure

damaged

e

user

should

not

attempt

to

service

this

equipment

All

-vice

work

should

bedoneby

a

qualified

service

technician

Due

to

our

efforts

for

constant

improvement,

features

amd

specitications

iisteid

herein

are

subject

to

change

without

notice.

PEAVEY

ELECTRONICS

CORPORATION

711

A

Street/Meridian,

MS

39301/U.S.A.

©

1982

PRINTED

IN

U.S.A.

80370318

3/18/82

Chaque

ampll

Peavey

poss^de

deux

lacks

d'entrCe

pour

Instrumenls,

chacun

ayant

sensibility

diliyrenle.

Le

jack

HI

a

une

sensibility

et

une

impedance

plus

eievees

que

le

jack

LO

el,

esl

normsiemenl

utilise

pour

oblenir

le

maximum

de

distorslon.

Le

jack

LO

a

approximativement

6

db

de

gain

sn

moins

et

est

hablluellement

utilise

avec

des

Instruments

possedant

des

micros

e

haul

niveau

de

sortie.

Certains

micros

e

haut

.

niveau

donneronlquelquefols

une

saturation

Irop

raplde

-

Iientree

high,

causant

un

son

agressif

et

discordant.

Notre

circuit

d'entree

permel

au

siclen

d'adapter

au

mieux

son

Instrument

e

Mampllticaleur

alin

dioblenir

la

sonorite

optima.

DEUX

CANAUX

Beaucoup

de

noa

amplls

possedent

deux

;anaux

distincls

permettant

au

gultariate

d'obienir

deux

families

de

sons

dlff6rents.

Utilise

1

conjonction

avec

le

seiecteur

Aulomix,

cette

caracteristlque

donne

la

possibilite

de

passer

Instantanement

d'un

son

e

un

autre,

ce

qui

est

partlculierement

important

durant

un

concert.

HAUTE

ET

BASSE

IMPEDANCE

D'ENTREE

u

AUTOMIX'

Notre

circuit

Automix

permet

la

selection

des

eanaux

et

leur

comblnaison

au

moyen

d'une

commande

par

seiecleur

au

pled.

O'autres

elfets,

teis.

la

saturation.

rSverb

ou

phasing

peuvent

aussi

etre

commandes

par

le

seiecteur.

Une

commutation

active

par

FET

assure

le

silence

et

la

flabllite

de

celte

operation.

Une

visualisation

des

lonctlons

est

assures

en

facade

diampll

par

des

LED.

PRE

ET

POST

GAIN

Chacun

de

nos

amplls

pour

Instruments

possede

le

contrdle

pre

et

post

gain

Peavey.

Ces

contrdles

Iravalllent

en

tandem,

tant

le

gain

dientrSe

que

le

niveau

general.

Le

pre

gain

fixe

le

point

de

travail

du

preampll

(sonorite).

landlsque

le

post

gain

regie

le

niveau

di6coule

general.

PULL

BRIGHT.

Le

pull

bright

rentorce

ie

son

de

6

db

a

2

Khz

lorsque

le

reglage

d'aigus

esl

en

acllon.

Ce

reglage

donne

du

mordant

pour

un

style

de

jeu

clair.

PULL

THICK

En

tonclionnement,

le

pull

thick

altere

6nerglquement

la

reponse

de

I'ampll

et

de

son

egatlsallon.

Une

partie

importante

des

frequences

haut

medium

est

renforcee

avec

une

courbe

de

frequence

tres

partlculiere

afin

de

crSer

un

"gros

son"

dans

(a

bande

medium.

Aujourd'huf

le

son

du

rock

peut

etre

produll

Ires

aisement

en

utillsant

conjolnlemenl

le

reglage

Thick

avec

notre

circuit

"Saturation".

SATURATION

Le

reglage

de

saturation

est

un

circuit

sophlstlque

de

"compression

de

gain"

permettant

d'obienir

une

saturation

simllaire

aux

amplis

e

lubes.

La

distorslon

douce

avec

sustain

el

les

chaudes

lonalltes

quI

sont

presenles

dans

la

muslque

actuellement

produites

par

un

circuit

meme

e

basse

puissance.

La

caracteristlque

de

saturation

n'est

pas

un

simple

reglage

"fuzz",

mals

un

circuit

eiabore

synlhetlsant

et

reproduisant

i'effel

des

tubes.

Ce

circuit

est

reglable

avec

precision

depulslepanneau

frontal

de

I'ampll

et

avec

un

seiecteur

au

pied.

EGALISATION

L'importance

d'un

lysieme

d'egalisatlon

sur

jn

ampli

ne

doll

pas

etre

minlmisee.

Tandisque

certains

ampli*

ont

ete

connus

pour

une

sonorite

caracteristlque,

Peavey,

lul.

s'est

attache

par

ses

circuits

d'egallsalion

e

reproduire

la

plus

large

paletle

de

sonorites.

Difterenles

applications

de

style

musical

demandant

un

grand

nombre

de

circuits

d'egallsalion.

Suivent

une

breve

description

et

explication

des

dllferents

systemes

d'egalisatlon

employes

dans

noa

amplis.

Les

plus

recenta

developpements

en

circuits

Integres

et

la

technologle

eiectronique

"State

of

■he

Art"

(urent

utilises

dans

la

recherche

et

la

construction

de

ces

systemes

d'egallsalion.

EGALISATION

PASSIVE

TROIS

BANDES

.....

Beaucoup

de

gultarlstes

preterentl'egalisalion

passive

standard:

grave

-

medium

-

aigu.

L'acllon

de

chaque

reglage

chevauchant

et

ayant

une

Intersection

sur

la

bande

adjacente

permet

d'obienir

beaucoup

de

lonalltes

dllterentes.

EGALISATION

ACTIVE

TROIS

BANDES

—

L'allrall

de

i'egaMsalion

active

progresse

au

fur

el

e

mesure

de

la

decouverte

par

de

nombreux

muslclens

des

performances

de

ce

circuit.

Les

trois

bandes

sont

approximativement

les

mSmes

que

sur

I'Sgaliseur

passlf.

mais

le

resultat

est

Ires

different.

Reglage

k

zero,

la

reponse

esl

drolte

avec

15

db

possibles

en

plus

ou

en

molns

pour

chaque

reglage.

L'action

sur

cheque

bande

est

Independante

des

autres.

PRESENCE

Notre

conlrdle

de

presence

est

actlf.

apportant

12

db

de

plus

ou

de

molns

dans

une

bande

de

frequences

situ

eeau-dessusdu

reglage

d'algu

de

I'egaMsalion.

Ces

4

reglagespeuvent

donner

un

son

extremement

moeiieux

et

vivani

en

position

coupee

ou,

peuvent

ajouter

du

trenchant

pour

un

style

de

)eu

percutant.

—

PARAMID'"

Le

circuit

"Paramld"

Peavey

apporle

une

grande

souplesse

de

conirdle

dans

la

region

bas

medium

sans

les

complications

provenant

du

circuit

parameirlque.

Le

musiclen

peut

raccorder

le

Paramld

dans

les

frequences

silu6es

enlre

150

et

1500

hz,

et

ensulle

rentorcer

ou

couper

de

15

db.

La

largeurde

la

bande

de

frequence

renlorcee

ou

attenuee

est

preseiecllonnee.

L-

PARAMETRIQUE

Le

vral

circuit

d'egallsalion

parameirlque

apporte

une

infinite

de

contrdle

du

son

dans

la

bande

de

frequences

cholsie.

EGALISEUR

GRAPHIQUE.

Certains

de

not

amplis

h

deux

canaux

possedent

un

egafiseur

graphique

six

bandes

dans

la

section

master

bn

plus

du

circuit

d'egalisatlon

actif

ou

passif.

Chaque

canal

ou

les

deux

peuvent

passer

ou

non

par

ce

circuit.

Le

circuit

six

bandes

est

enlierement

actif

el

permet

avec

I'egaliseur

indlviduel

de

chaque

canal

une

multlpliclie

de

sons.

I'heure

actuetle.

Un

conlrdle

de

profondeur

fait

varler

I'intenslie

de

I'effet

et

un

contrdle

de

Vitesse

permet

de

laire

varler

la

rapldite

de

rotation;

le

conlrdle

de

Vitesse

a

une

caracteristlque

unique:

lorsqu'ii

est

tire.

I'on

arrete

Meffet

de

rotation,

mals

Mon

peut

continuer

e

se

servlr

de

la

resonnance

du

circuit

phasing,

comme

un

fillre

de

spectre

(un

peu

i

la

maniere

d'un

parameirlque)

le

reglage

s'effectuant

par

IMntermedlaire

du

bouton

de

yltessB.

La

vadete

d'eflets

disponlbles

sera

tres

grande

si

ie

bouton

de

profondeur

esl

r6gie

au

maximum.

EFFET

CORDE

L'effet

STRING

figure

sur

les

amplls

PEAVEY

SESSION',

concus

pour

I'utllisation

avec

la

pedal

steel

guitare.

Utilise

en

conjonction

avec

la

pedale

volume,

cet

eflet

reprodult

des

sonorites

de

violon

el

de

jeu

d'archet.

Le

reglage

Level

commande

le

gain

de

I'effet.

et

le

reglage

Edge

dose

legerement

les

harmoniques

pour

oblenir

par

exemple

la

reponse

d'une

corde

de

violon.

Avec

une

guitare

eiectrlque.

I'effet

STRING

produira

une

gamme

de

saturation

riche.

partlculierement

adapiee

au

rock.

REVERBERATION-

Notre

reverberation

esl

compietement

reglable

depuls

un

niveau

Inflme

jusqu'd

I'effel

"calhedrale".

Le

nouveau

circuit

utilise

emplole

une

reverb

Hammond

type

IV,

II

produit

le

minimum

de

Larsen

avec

le

maximum

de

performance.

L'ellet

reverb

est

commutable

par

la

pedale

aulomix

sur

la

plupart

de

nos

modeies.

PUMP/PULL

SMOOTH

Ces

deux

nouvelles

caracieiisllques

ont

ete

con^ues

pour

notre

ampllficateur

modefe

ROADMASTER

-.

Le

reglage

PUMP.

quI

ContrOle

la

dynamique

de

saturation

de

I'ampll,

permet

d'obienir

loule

une

palellede

sonoritessaturees.

du

Blues

Iramant

lout

en

douceur,

jusqu'e

la

distorslon

dure

du

rock

moderne,

En

tirant

le

bouton

PUMP

(seiecleur

"Harmonics"),

on

renforce

les

harmoniques

superieures

du

circuit

PUMP.

Pour

oblenir

une

distorslon

plus douce,

le

seiecteur

PULL

SMOOTH

sera

mis

en

service:

en

delimitant

la

reponse

aux

hautes

frequences,

il

adoucira

la

sonorite

distorslon.

quelles

que

Solent

les

positions

des

autres

reglages.

HAUTE

PUISSANCE

—

STANDBY

—

BASSE

PUISSANCE

Get

inverseur

permet

de

faire

travailler

I'etage

de

sortie

de

I'ampli

au

1/4

de

la

puissance,

cect

afin

d'obtenlr

des

possibilltes

de

ssturafion

parfaite

i

bas

niveau

(position

low

power).

La

position

centrale

correspond

au

standby

(position

attenle).

INVERSION

DE

LiALIMENTATION

SECTEUR

Un

inverseur

e

Irols

positions

esl

utilise

afin

de

redulre

au

maximum

la

residuelle

de

ronflement

par

Inversion

des

decouplages

secteur.

En

France,

eel

inverseur

n'est

pas

branche

car

la

ieglslalion

ne

permel

que

le

raccordement

au

reseau

avec

Irois

Ills

dont

prise

de

lerre.

Cet

inverseur

est

done

sans

effel.

CHOIX

DES

IMPEDANCES

DE

SORTIE

Notre

transfo

de

sortie

special

permet

e

I'ampli

de

delivrer

loule

sa

puissance

dans

difterenles

impedances

de

HP.

Cette

possibilite

permet

d'obienir

le

maximum

de

performance

avec

des

HP

exterleurs.

SORTIE

LIGNE

Noire

sortie

llgne

peut

etre

raccordee

direclement

a

la

sonorlsallonoue

la

console

sans

Mlntermedialre

d'une

bo1te

de

direct.

Cette

sortie

est

corrigee

en

frequence.

La

correction

en

frequence

est

necessaire

pour

reconslltuerleson

donne

par

le

haul

parleur

(celui-ci

modifiant

conslderablement

I'allure

de

la

courbe

de

reponse

de

i'ampll).

Celte

correction

permet

done

d'obienir

direclement

leson

caracteristlque

de

notre

ampli

6

la

console.

.

SORTIE

PREAMPLI

-

ENTREE

AMPLI

DE

PUISSANCE

Une

connexion

aller-relour

enlre

lepreampllet

I'ampli

permet

une

melMeure

ulillsallon

d'un

effet

e

que

le

branchemeni

avant

preampll.

La

sortie

preampll

esl

raccordee

i

I'entree

de

I'effet

exierleur,

et

la

sortie

de

I'effet

est

rellee

e

I'enfree

de

I'ampli

de

puissance.

Les

jacks

peuvent

etre

utilises

separemeni

lorqu'il

est

necessaire

par

exemple.

d'utiliser

une

section

ampli

de

puissance

plus

HP

suppiemenlaire.

—

CONNEXION

Chaque

ampli

Peavey

possede

des

ci

suppiemenlaires

permettant

d'augmenter

I

souplesse

d'utllisation.

.

DDT®

COMPRESSION

PEAVEY

ELECTRONICS

CORPORATION

711

A

Street

/

Meridian,

MS

39301

/

U.S.A.

Un

des

plus

Importants

probiemes

recontres

par

les

basslslesainsi

que

certains

guitaristes

(nolamment

steel,

jazz,

country)

esl

le

manque

de

clarte

a

puissance

maximum

dans

les

syslemes

compacts:

partlculierement

lorsque

I'on

a

besoin

a

tres

haul

niveau

d'un

son

transparent

el

sans

distorslon.

Notre

systeme

DDT

(U.S.

Patent

H4.318.053)

permel

au

maximum

de ne

plus

rencontrer

les

probiemes

de

distorslon

diis

e

I'ampli

de

puissance,

prlnclpaiement

sur

les

atlaques.

par

un

circuit

s'enclenchan!

automaliquement

el

supprlmani

dislorsion

et

saturation.

Quand

la

ralson

de

la

distorslon

dlsparfli.

le

circuit

se

deconnecle

automaliquement.

Ce

circuit

peut

ou

non

etre

enclencheau

gre

de

I'ulMisateur.

Ce

circuit

est

une

Innovation

tres

importante,

car

M

permel

d'obtenlr

le

maximum

de

niveau

accoustique

sans

dislorsion

pour

une

puissance

d'ampll

donnee.

CONSTRUCTION

ET

EBENISTERIE

Nous

vous

invitons

a

faire

une

inspection

et

une

comparison

de

la

quallie

de

construction

interne

et

externe

ainsi

que

descomposantspar

rapport

a

nos

concurrents

Tous

les

amplis

PEAVEY

sont

construils

en

multi

plis

de

19mm

recouvert

de

vinyl

hyper

resistant.

ENTRADAS

ALTA

Y

BAJA

.

Cada

amplillcador

Peavey

presenla

dos

entradas

de

jacks

de

instrumenlos.

cada

una

con

diferente

eslruclura

de

sensibllidad

ganancia.

El

jack

de

alta

ganancia

tiene

considerablemente

mas

sensibllidad

e

impedancia

que

el

jack

de

baja

ganancia.

y

es

h

entrada

que

se

ulillza

generalmente.

especialmenle

cuando

se

desea

consegui

distorsion

y

sobrecarga.

de

aproj<iinadaniente

6

d8

menos

de

ganancia

y

esta

disenado

ante

lodo.

para

ulillzarse

con

instrumenlos

que

tengan

pastillas

de

alta

sallda.

Una

pastilla

"caliente

"

a

veces

sobrecargara

prematuramente

la

entrada

de

jack

de

alia

ganancia.

produciendo

una

tonalidad

desagradable

y

las

caraclerisdcas

discordantes

de

la

sobrecarga.

Nuestro

circullo

unico

de

entrada

permile

al

musico

compaginar

las

caractensiicas

de

salida

de

su

instrumenio

con

el

circuilo

de

entrada

del

amplillcador.

proporcionando

una

optima

situacio'n.

CANALES

DOBLES

■

Muchos

de

nuestros

ampllficadores

presentan

L

dos

canales

de

operacion.

que

permiten

al

musico

crear

dos

spnidos

claramenle

dilerenles.

Utflizada

junto

con

el

pedal

Automix'".

esta

caracterislica

permile

pasar

de

un

sonido

a

otro

Instantaneamente:

Una

funcic^n

particularmente

deseabie

en

acluaclones

en

directo.

AUTOMIX'"

Nuestro

circuilo

Automix

"

permile

seieccionar

los

canales

y

cambiarpor

medio

de

un

pedal

remoto.

Un

circuito

de

conmutacion

analo'gico

con

transistor

FET

luncionamiento

de

esta

caracler/stica.

Algunos

modeios

de

amplllicadores

presentan

LEDS

(diodes

emisores

de

luz)

de

colores

para

indicacii^n

visual

del

canal

de

luncionamiento.

CONTROLES

DE

GANANCIA

PRE

Y

POST

——

Estos

controies

Irabajan

en

landem

para

eslablecer

el

contenido

armonico

de

los

amplllicadores,

la

eslruclura

de

ganancia

y

el

nivel

de

luncionamiento.

Ei

mando

pre

de

ganancia

situa

el

punto

de

luncionamiento

de

la

secci(^n

del

preamplilicador

mienlras

que

el

control

post

de

ganancia

situa

el

nIvel

de

sensibllidad

de-la

etapa

depolenciay.

adema's.

el

nivel

de

volumen

general

del

sistema.

PULSADOR

DE

BRILLO

El

pulsador

de

Priiio.

al

ser

accionado

aKade

un

alza

importanle

(6

dB

a

2

KHz)

a

las

alias

Irecuencias.

Esta

alza

proporclona

un

"recorte"

para

pulir

los

dislintos

eslilos

de

ejecucion.

PULSADOR

THICK

Cuando

se

activa.

el

efecto

del

pulsador

"thick"

se

allera

drasticamente

la

respuesia

de

todo

el

sistema

de

ecualizacion

del

amplillcador.

Una

canlidad

considerable

de

aumenio

en

alias

Irecuencias

medias,

en

una

conliguracion

especialmenle

adaplada.

crea

una

tonalidad

complela

de

medio

rango

y

rica

en

armonicos.

El

actual

sonido

rock

puede

consegulrse

bastanle

(acllmente

cuando

se

ulillza

el

efecto

"thick"

junto

con

nuestro

circuilo

Saturation'".

SATURATION'"

El

Saturation"

(patenle

pendlente)

es

un

circuito

altamente

sofistlcado

que

produce

compresion

de

ganancia"

de

una

manera

mu^

parecida

a

una

valvuja

exiremadamente

suave.

Ilamada

"singing

sustain"

y

la

calida

tonalidad

que

lanto

prevaiece

en

la

musica

actual,

son

producidas

por

este

circuito....incluso

a

bajo

nivel

de

volumen.

La

caraclerrstica

Saturation"

no

es

otro

"truco

para

conseguir

un

lono

luzz".

sino

un

sensacional

adelanio

en

ei

diseno

de

circuilos

que

sinletlza

la

accion

de

las

valvulas

cuando

dan

salida

plana.

La

canlidad

del

elecio

Saluralion"

se

conlrola

lotalmente

en

el

panel

Ironlal

del

amplillcador

y

puede

seleccionarse

por

medic

de

un

pedal

externo.

ECUALIZACION

La

impoiiancia

del

sistema

de

ecualizacion

de

un

ampltticador

no

puede

exagerarse.

Mienlras

algunos

ampllficadores

se

han

hecho

lamosos

por

una

caracieri'stica

tonal

^distlntiva

(con

escasas

posibilldades

de

varlacion).

Peavey

ha

optado

por

ei

circuito

de

ecualizacion

mas

versatil

posible

para

permitir

la

creacic^n

de

muchas

estructuras

tonales

diferentes

y

excitantes.

Dilerenles

apilcaciones

y

los

varlados

eslilos

y

descripci^n

y

explicacit^n

de

los

diversos

sistemas

de

ecualizacion

empleados

en

nuestros

ampllficadores.

Los

ultimas

adelantos

e^

diseno

de

estado

so'lido

y

la

mas

avanzada

tecnologia

eleclrc^nica

se

utilizaron

en

el

desarrollo

y

construccion

de

estos

sistemas

de

ecualizacion.

EG

PASIVO

DE

TRES

BANDAS

—

Muchos

gultarristas

perfieren

el

lormalo

standard

(baja-medla-alta)

de

EO

pasivo.

La

accion

de

cada

banda

de

trecuencia

se

superpone

e

Interacclona

con

banda

contigua

para

produclr

muchas

posibilldades

de

diferentes

tonalidades.

EG

ACTIVO

DE

TRES

BANDAS

^

La

popularldad

de

la

ecualizacion

activa

contlnua

creciendo

de

forma

que

muchos

musicos

descubren

que

se

ha

hecho

posible

anadir

controies

con

este

Ilpo

de

circuilos.

Las

Ires

bandas

(baja-medla-alta)

son

aproximadamenle

las

mismas

que

en

un

circuito

pasivo

de

Ires

bandas.

pero

observese

que

las

marcas

son

bastanle

diferentes.

Situando

el

mando

EQ

en

la

posicion

de

las

12

del

reloj.

marcada

con

"0",

Indlca

una

respuesia

plana

con

15

dB.

permitiendo

sublr

o

bajar

de

nivel

en

las

posiciones

maximas.

El

funclonamiento

de

cada

banda

es

muy

independienle.

con

una

minima

inleraccic(n

enire

las

olras

bandas

de

Irecuencia.

CARACTERISTICAS

DE

LOS

AMPLIFICADORES

PEAVEY

PARA

GUITARRA

Y

BAJO

permitiendo

12

dB

de

alza

o

baja

en

una

banda

exiremadamente

alta

de

frecuenclas

mas

alia

de

la

region

controlada

por

circuilos

de

EO

m^s

alia.

Esta

cuarta

banda

puede

hacer

la

sallda

muy

suave

(posicion

hacia

abajo)

o

anadir

un

bonlto

"corte"

(posicion

hacla

arrlba)

para

pulir

los

diferentes

estilos.

—

PARAMID'"

Nuestro

ciruclto

unico

Paramid"

(control

parametrico

de

medios)

permite

llexibilidad

adiclonal

y

control

de

la

importante

region

de

Irecuencias

medias

sin

las

excesivas

complicaciones

asocladas

con

los

circuilos

completamente

param^tricos.

El

musico

puede

"sintonlzar"

el

circuilo

Paramid"

en

cualquler

punto

del

espectro

de

Irecuencia

media,

desde

150

Hz

a

1500

Hz

y

luego

elevar

o

cortar

la

Irecuencia

seieccionada

hasla

15

dB.

El

ancho

de

banda

o

"0"

de

la

Irecuencia

central

seieccionada

se

preajusta.

—

PARAMETRICA

Un

aulentlco

circuito

de

ecualizacion

parametrica

permite

casi

un

control

total

sobre

la

eslruclura

tonal

dentro

desu

region

afectada.Selecclo'n

de

Irecuencia,

ancho

de

banda

y

modo

(eievando

o

bajando)

son

posibles

con

este

circuito

altamente

especiaiizado.

ECUALIZADOR

GRAFICO

-

Algunos

de

nuestros

ampllficadores

de

dos

canales

presentas

un

ecuailzador

gr^fico

de

sels

bandas

en

las

secclones

master,

ademas

desu

circuito

EO

en

el

canal,

^ada

canal.^o

ambos.

pueden

ser

conducldosalravesdelEQ

gralicoodarpaso

directo

a

Irav^s

del

bypass.

Las

sels

bandas

presentan

circuilos

actlvos

y.

en

comblnacic^n

con

el

canal

Individual

EO.

proporcionan

una

amplla

gama

de

varlaciones

tonales.

CAMBIADOR

DE

FASE

Nuestro

cambiador

de

fase

es

un

disefTo

lotalmente

nuevo

y

creemos

quees

uno

de

los

mejores

que

pueden

consegulrse

hoy

en

dia,

ya

sea

dentro

del

amplillcador

o

como

accesorio

aparle.

Un

control

de

profundidad

varia

la

intensidad

del

efecio

mienlras

que

un

control

de

amplllud

de

banda

marca

la

velocldad

de

la

fase.

desde

un

"barrldo''

muy

lento,

apenas

perceptible,

hasta

un

ritmo

muy

rifpldo.

similar

a

un

altavoz

giratorio.

El

control

de

amplllud

de

banda

presenla

lambien

un

complelo

pulsador

que

llamamos

"pull

set".

Esta

caraclenstlce

unica

permite

al

musico

parar

ei

"barrldo"

del

circuito

fase

en

cualquler

punio

de

su

recorrldo

a

trav^s

del

espectro

de

frecuencia.

Cuando

el

Inlerruptor

se

pone

hacla

afuera

el

"barrldo"

automalico

se

deliene.

Enlonces

puede

coiocarse

la

fase

en

cualquler

punto

de

la

frecuencia

de

su

"barrldo"

girando

manualmente

el

pulsador

deconlrol

de

rango.

Esia

caractenstica

unica

abre

un

ampllo

nuevo

especiro

de

efectos.

especialmenle

cuando

el

control

de

graves

se

hace

luncionar

en

su

posibilidad

mas

alia.

EFECTO

DE

CUERDAS^—

El

ElecIo

de

Cuerdas

es

una

caracterislica

de

nuestro

aclamado

amplillcador

Session'

500.

La

serie

de

amplllicadores

Session-

ha

sido

la

prelerlda

de

gullarrlslas

de

pedal

de

acero

por

muchos

aiios.

A

pellcion

de

ellos

hemos

anadido

el

Electo

de

Cuerdas.

que

duplica

eflcazmenle

los

sonidos

del

violin

cuando

se

usa

en

conjunto

con

un

pedal

de

volumen.

Los

Controies

de

Nivel

ajuslan

la

ganancia

del

elecio

al

mismo

tiempo

que

el

Control

de

Borde

arcade

osuslrae

los

sullies

sobretonos

dando

resultado

tonalidades

como

las

del

violin.

Cuando

el

Session-

500

se

usa

para

guilarra.

el

Efecto

de

Cuerdas

produce

una

gran

abundancia

de

texluras

para

estllo

rock.

REVERB

•

Nuestro

electo

reverb

es

absolulamente

variable

desde

un

nivel

casi

Imperceptible,

transparente.

hasla

un

potente

sonido

"eco".

Los

nuevos

circuilos

usan

la

bobina

reverb

misma

en

el

lazo

de

reallmenlacit^n

para

aumentar

eieclronicamenle

el

luncionamiento

de

la

ifnea

de

retsrdo

del

Hammond

tipo

IV.

El

efecio

reverb

se

puede

seieccionar

a

dislancia

con

el

pedal

Aulomlx"en

la

mayoria

de

los

modeios

de

ampllficadores.

PEAVEY

ELECTRONICS

CORPORATION

711

A

Street

/

IVIeridian,

MS

39301

/

U.S.A.

PRESENCIA

Nuestro

mando

de

Presencia

es

acti

.PUMP/PULL

SMOOTH

Son

dos

nuevas

caracterlsllcas

que

se

han

dlser^ado

para

el

amplificador

"Roadmaslef".

Ei

conlrol

"pump"

alecta

a

la

sobrecarga

dinamica

del

amplillcador

para

crear

una

gran

variedad

de

texturas

desde

la

baja

distorsion

del

R

&

B

y

Blues

hasla

la

fuerte

distorsion

y

sustain

del

rock

moderno.

El

pulsador

de

mando

"pump",

rotulado

Harmonics

'

mejora

los

armr^nlcos

superlores

quese

crean

en

el

circuilo

"pump"

poracenluaclon

armonlca.

Cuando

se

desean

distorslones

de

lextura

"sedosa"

la

caracterfslica

pull

smooth"

puede

ser

ulMlzada

para

perfilar

y

contornear

la

posible

variedad

de

calldad

de

distorsio'n.

INTERRUPTOR

DE

GRAN

POTENCIA/ESPERA/BAJA

POTENCIA

Esta

caraclenslica

permile

ei

funclonamiento

de

los

ampllficadores

a

valvulas

a

maxima

potencia

o

a

1/4

de

potencia

(mllad

SPL)

para

permitir

locar

a

dislintos

nlveies

mientras

se

mantienen

las

caracteristlcas

convenientes

de

sobrecarga.

La

posicion

central

del

conmutador

de

Ires

posiciones

manllene

el

amplillcador

en

posicion

de

espera.

CONMUTADOR

DE

TIERRA

REVERSIBLE

EsIa

caracterislica

unica

ulillza

un

conmulador

de

tres

posiciones

que

en

la

posicion

central

(0)

desconecta

lolaimenle

el

condensador

Interno

de

tierra

de

los

circuilos

del

amplificador.

Esta

posicion

"0"

se

recomienda

normalmente

en

situaciones

en

las

que

se.

sabe

que

el

enchule

de

la

red

contiene

un

lercer

cable

conectado

a

llerra.

La

poslcio'n

ma's

(-)

y

menos

(-)

se

usan

cuando

solose

dispone

de

dos

serviclos

de

cable.

Una

de

eslas

posiciones

produclr^

menor

canlidad

de

zumbido

residual

o

el

que

se

produce

cuando

se

aplica

la

mano

al

Instrumenio.

NOTA:

Este

conmutador

esta

desactivado

en

los

modeios

para

la

exportacio'n

debido

a

las

necesidades

especlales

de

olras

naciones.

TRANSFORMADOR

DE

SALIDA

ADAPTADOR

DE

IMPEDANCIA

Un

transformador

de

salida

especial

permite

al

amplificador

emitir

loda

su

potencia

de

salida

a

dilerenles

caroas

de

altavoces.

Esta

caraclerlstica

proporclona

flexlbilidad

L

adiclonal

al

sistema

y

asegura

un

luncionamiento

mejor

que

con

olras

configuraclones

internas

de

aflavoz.

SALIDA

DE

LINEA

Nuestra

salida

de

linea

se

distingue

de

una

salida

de

preampllflcador

en

que

ha

sido

:ompensada

en

Irecuencia"

para

permitir

conexto'n

direcia

al

refuerzo

de

sonido

o

mesa de

estudio

sin

necesidad

de

caja

directa

externa.

La

compensacion

de

frecuencia

es

necesaria

para

"desenfasizar"

grandes

canlidades

de

eiualizaclon

de

alta

Irecuencia

Inclui'das

en

lodos

los

ampllficadores

de

instrumenlos

(esta

EQ

extra

compensa

la

falta

de

respuesia

en

alias

frecuencia

li'picas

en

los

allavoces

para

instrumenlos

musicales).

Esta

amorllguacion

de

la

alia

Irecuencia

permite

que

la

senal

envlada

a

la

mesa

de

mezcia

sea

casi

igual

que

la

que

se

oye

en

el

sistema

de

altavoz

del

propio

amplillcador.

^—SALIDA

PREAMPLIFICADOR/

ENTRADA

AMPLIFICADOR

(RETORNO

DE

EFECTOS)

Una

conexlon

de

retorno

de

efeclos

proporclona

un

luncionamiento

mas

silencloso

y

eliclente

de

los

dispositivos

de

efectos

externos

permitiendo

una

conexlon

"en

Imea"

a

traves

delos

circuilos

internes

del

amplificador.

La

salida

del

preampllflcador

se

conecta

a

la

entrada

de

los

dispositivos

exterlores

y

la

salida

de

los

dispositivos

se

conecia

a

la

entrada

de

la

etapa

de

potencia

del

amplificador.

creando

eflcazmenle

un

lazo

para

paso

de

senal.

Los

jacks

pueden

utillzarse

Independlenlemenle

cuando

se

requlere

acceso

a

los

culcuitos

infernos

de

las

unldades

para

situaciones

tales

como

conexlon

en

cadena

de

sistemas

con

amplificador

de

potencia

en

el

altavoz.

—

PANELES

DE

CONEXION

Cada

amplillcador

Peavey

presenla

alguna

forma

de

panel

de.conexitin

para

dar

flexlbilidad

adiclonal

al

sistema

y

posibilidad

de

expansion.

•

COMPRESION

DDT^

Uno

de

los

mayo-es

problemas

que

bajistas

y

algunos

gullarrlslas

(principalmente

acero.

jazz,

y

algunos

mi^lcos

de

country)

es

la

falta

de

potencia

en

los

modeios

portitlles.

Estos

modeios

son

muy

sollcllados

y

requieren

una

sallda

llmpla

y

volumen

alto

con

poca

dislorsion.

Nuestra

compresion

DDT-

(Palente

USA

4.318.053)

permits

a

eslos

musicos

evilar

los

problemas

de

sobrecarga

que

se

encontraban

antes

medlante

la

deleccion

electronica

de

la

slluacl^n

de

"clipping"

del

amplificador

de

potencia

y

coneclando

automaticamente

el

circuito

especial

que

retlene

el

"Headroom"

(cresta)

y

previene

el

"clipping"

y

la

dislorsion.

Cuando

baja

la

siluacion

de

"clipping"

el

circuilo

se

desconecta

permitiendo

al

amplificador

volver

a

operar

normalmente.

Esta

caractenstica,

tan

Imporlante

y

nueva,

asegura

la

maxima

ullllzacion

de

cada

vatic

del

amplificador

a

la

vez

que

conserve

la

Imporlanle

dinamica.

presenle

en

el

material

de

los

programas

en

directo.

CONSTRUCCION

Y

MATERIALES

invilamos

a

una

Inspeccldn

detallada

y

a

comparar

nuestros

m^lodos

de

construccion

y

materiales....por

dentro

y

por

luera....con

los

de

cualquiera

de

nuestros

compelldores.

Todos

los

ampllficadores

Peavey

se

conslruyen

con

materiales

de

la

m^s

alta

cafidad

de

3/4"

y

eslan

lorrados

con

vinlio

de

34

oz.

duradero

y

resislente

(el

mis

duro

de

la

Industrla).

HIGH

AND

LOW

INPUTS

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A

GLOSSARY

OF

PEAVEY

GUITAR

AND

BASS

AMP

FEATURES

PUMP(/<>7T-tLT.

PULL

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tX-)Elca'J

PEAVEY-Verstarker

vertugen

Uber

zwei

Insirumenten-Elngange,

jeder

(nil

anderer

Eingangsempflndllchkeil.

Der

"High

Gain"-Eingang

ist

bedeutend

emplindiichar

und

hochohmlger.

und

wird

im

Normallall

verwandel,

spezlell

wenn

maxiinale

Verzerrung

und

"Overdrive"

erreichl

werden

soli.

Der

"Low

Galn"-Jaek

bietel

6dB

wenlger

Veratarkung

und

ist

In

erster

Linle

fur

Instru-

mente

(nit

exirem

"helssen"

Pick-Lip's

ge-

dacht.

Olese

kdnnten

den

"High

Gain"-Eln-

gang

fruhzeitig

ubersieuern,

was

zu

einer

un-

angenehmen

Toneiitdt

und

rauher

Overdrive-

Charakteristik

fiihrt.

Unsere

einzlgartlge

EIngangs-Schaltung

eriaubl

dem

Muslker,

den

Vorverstarker

opti

mal

der

Ausgangs-Charaklerislik

seines

In

struments

anzupassen.

ZWEI

KANALE

Manche

PEAVEY-Verstarker

bieten

die

Wahi

zwischen

zwei

KanAien.

Das

gibt

dem

Muslker

die

Mdgllchkeit,

zwei

vdiilg

verschie-

dene

Einsteliungen

zu

programmieren.

MIt

Hii-

le

des

Automix^*'-Fusspedai8

iisst

sich

mit

ei-

nem

Knopldruck

zwischen

den

zwei

Sounds

umschalten;

ein

wichiiger

Aspekt

vor

aliem

bei

Live-Auftritten.

AUTOMIX™

Unsere

Au(omix^<'-Schaitung

eriaubt

die

Wahi

und

das

Umschalten

zwischen

Kanalen

iiber

ein

Fusspedal.

Andere

Effekte

wie

Sa

turation^",

Hall

und

Phasing

kbnnen

bei

gewis-

sen

Verstarker-Modellen

Ciber

das

gleiche

Fusspedal

aktlviert

werden.

Spezieile

Schal-

tungen

sorgen

fur

ein

geriuschfreies

und

si-

cheres

Umschalten,

und

einige

Verstarker

sind

mit

LED's

(Leuchtdloden)

zur

des

gewahiten

Kanais

ausgestattet.'

PRE

UND

POST

GAIN

KONTROLLEN

Jeder

PEAVEY-Verstarker

vertugl

OI>er

unsere

einzlgartlge

Gain-Kontroile.

Die

Regler

arbeiten

in

Verbindung

miteinander,

und

be-

slimmen

Oberton-Gehait,

Gain-Slruktur

und

Lautstarke.

Der

"Pre

GBin"-Regier

setzt

den

ArbeitspunkI

des

VorverstSrkers

test,

wah-

rend

"Post

Galn»

die

Empflndlichkeltder

End-

stule

und

damil

die

Gesamtiaulstarke

regeit.

PULL

BRIGHT

*

Dieses

Feature

-

durch

Herauszlehen

des

Reglers

aktlviert

-

hebt

hdhere

Frequenzen

an

(6d8

bei

2kHz),

und

gibt

unverzerrten

Einstel

iungen

den

gewUnschten

"Biss",

PULL

THICK

Wenn

durch

Herauszlehen

des

Reglers

aktlviert,

bewirkt

"Pull

Thick"

eine

drastische

Verdnderung

des

Frequenzgangs.

Eine

"massgeschnelderte"

Mittenanhebung

be

wirkt

die

warme,

harmonisch

dichte

Tonalitil

heutlger

Rock-Sounds,

welche

in

Verbindung

mit

unserer

Saluratlon'"-Schsltung

ielcht

ein-

zusleilen

ist.

SATURATION^"

Unser

patentiertes

Saturation'"-Feature

ist

eine

hochentwickeite

Schaitung,

die

fur

"Gain

Compression"

in

einer

sehr

ahniichen

Art.

wie

sie

bei

voil

iibersteuerten

Rohren

auf-

triti,

sorgt.

Gleichmassige

Verzerrung,

slngen-

des

Sustain

und

warme

Tonailidt

-

aiies

Merk-

male

heutlger

Musik

-

sind

dank

dieser

Schai

tung

auch

bei

kleinsten

Lautstarken

mdgiich.

Das

Saturalionr"-Feature

ist

nicht

bioss

eine

"Fuzz

Box",

sondern

ein

echier

Durch-

bruch

in

der

Schaltungsentwickiungi

Die

Cha-

rakteristlk

voil

iiberateuerter

Rohren

wIrd

exakt

aynthetlslart,

wobei

die

intensitat

am

Verstarker

iiber

einen

weiten

Bereich

stufen-

ios

eingesteilt

werden

kann,

und

das

Satura-

tion'"-Feature

sich

iiber

das

Fusspedal

an-

wahien

lasst.

EQUALIZATION

Die

Bedeutung

der

Tonkontroilen

{Equali

zing)

an

Verstarkern

kann

nicht

genug

hervor-

gehoben

werden!

Wahrend

gewisse

Verstar

ker

fiir

einen

beslimmten

Sound

mit

nur

wenig

Mdgilchkeiten

der

Beeinfiussung

bekannt

sind,

geht

PEAVEY

den

Weg

umfassender

Tonkontroilen,

und

erotfnet

damit

fast

unbe-

grenzte

Kiang-MOglichkelten.

Verschiedene

Anwendung

und

verschie-

dene

Spieiarten

veriangen

nach

unterschledii-

chen

Arten

von

Tonkontroilen.

Nachstehend

zelgen

wir

einige

Typen

von

Equalizern,

wie

sie

in

unseren

Verstarkern

zur

Anwendung

kommen.

Beim

Design

und

Bau

dieser

Equaii-

zer-Systemo

wurden

neuste

Entwicklungen

der

Eiektronik

und

hochstehende

Tech

noiogie

verwendet.

THREE-BAND

PASSIVE

EG

^

Viele

GItarrlsten

bevorzugen

dieses

pas

sive

Bass/Mltten/HOhen-Equaiizing.

J^es

Frequenzband

liberiappt

mit

dem

nAchslen;

dadurch

iassen

sich

eine

Mengeunterschiedli-

cher

Einsteliungen

erzeugen.

THREE-BAND

ACTIVE

EQ

Die

Popuiarliat

aktiver

Tonkontroilen

wichst

standlg.

VIeie

Muslker

haben

die

zu-

satzMchen

Konlrolimdgiichkeiten

enldeckt.

welche

mit

diesem

Typ

von

Equalizing

gebo-

ten

wird.

Die

drei

Bander

entsprechen

etwa

de-

nen

des

passlven

EQ's,

jedoch

sind

die

Funk-

tionen

der

Regieranders.

in

derMittensteliung

{0)

ist

die

Schaitung

neutral,

wahrend

links

und

rechts

Regeibereiche

fur

iSdB

Anhebung

(-f)

und

Absenkung

(-)zur

Vertugung

stehen.

Die

einzeinen

Bander

sind

unterelnander

prak-

tisch

unabhangig.

und

beeinflussen

sich

ge-

genseitig

nur

minimal.

PRESENCE

Unser

Prasenz-Regler

ist

aktiv,

und

er

iaubl

Anhebung

Oder

Absenkung

urn

t2d8

in

einem

Frequenzband,

welches

ubiiche

Equali

zer

nicht

mehr

beeinflussen

kOnnen.

Dieses

vierte

Band

kann

den

Sound

abgerundet,

und

trotzdem

often

machen

(-),

Oder

unverzerrten

Einsteliungen

den

gewissen

"BisS"

geben(-l-).

■

PARAMID™

Unsere

einzlgartlge

Param(d^"-Schaitung

eriaubt

zusatziiche

Fiexibilitat

und

grbsste

Kontroile

iiber

Frequenzen

des

Mittenbe-

reichs,

ohne

dass

die

kompiiziertere

Bedie-

nung

eines

voil-paramelrischen

EQ's

in

Kauf

genommen

werden

muss.

Die

Einsatzfrequenz

kann

stufenlos

zwischen

150

Hz

und

1.5

kHz

gewahit

und

dort

um

15

dB

angehoben

oder

abgesenkt

werden.

Die

Bandbreile

der

gewahi

ten

Frequenz

(der

"Q'-Parameter)

ist

test

vor-

gegeben.

■

PARAMETRIC

Echtes

paramelrisches

Equalizing

gibt

dem

Anwender

praklisch

unbegrenzte

Kon

troile

uber

den

Klang.

Einsatzfrequenz,

Band

breile

und

Anhebung'Absenkung

kdnnen

mit

dieser

spezlalisierten

Schaitung

IweinfiussI

werden.

GRAPHIC

EQUALIZER

—

Der

Master-Tell

oiniger

unserer

Zwei-Ka-

nai-Verstarker

Ist

mit

einem

6-Band

Graphic

Equalizer

ausgestattet.

Dieser

ist

parallel

zu

den

anderen

Tonkontroilen

aktiv,

und

kann

wahlwelse

einem

Oder

belden

Kanblen

zuge-

ordnel

oder

umgangen

werden.

Die

sechs

Bander

sind

mit

aktiven

Schal-

tungen

aufgebaut.

und

bieten

tn

Verbindung

mit

den

Kanai-EO's

weilgehendste

Kiang-Be-

einfiussung.

PHASE

SHIFTER-

eingebaulen.

der

Beste

und

Vieiseltigste,

Ein

Tiefen-Regier

kontrolliert

die

Intensi-

.

tat

des

Effekts,

wahrend

ein

"Range"-Regier

die

Phasing-Geschwindigkeil

zwischen

einem

iangsamen.

kaum

wahrnehmbaren

"Sweep"

bis

zum

extrem

schneilen,

einem

rotierenden

Lautsprecher

ahniichen

Effekt

einstellen

ibsst.

Der

"Range"-Regierkann

herausgezogen

werden

("Pull

Set"),

was

dem

Muslker

eriaubt.

den

"Sweep"

an

einem

beliebigen

Punkt

im

Frequenzspektrum

anzuhailen.

Der

automati-

sche

"Sweep"

wird

dabei

gesloppt.

Der

Pha

ser

kann

durch

Drehen

des

Reglers

auf

einen

beliebig

wahibaren

Punkt

eingesteilt

werden.

Diese

einzigartige

Mogiichkeit

erdffnel

ein

ganzes

Spektrum

neuer

Effekte,

speziell

bei

starken

Einsteliungen

der

Tiefen-Kontrolle.

STRING

EFFECT

—

Der

"String

Effect"

istein

Feature

beruhmten

Session'

500-Verstarkers.

Die

Session'-Serie

Ist

salt

Jahren

die

erste

Wahi

von

Pedal

Steel-Gitarristen,

und

auf

ihre

Anre-

gung

haben

wir

den

"String

Effect"

geschaf-

fen.

welcher

zusammen

mit

einem

Voiumen-

Pedal

Streich-

und

"liddle"-Etfekte

sehr

echt

nachvoilziehen

lasst.

Oer

"Levei"-Regler

kontrolliert

die

Slarke

des

Effekts.

wahrend

der

"EdgeContro1>'-Reg-

ler

subtile

Ot>erlOne

hlnzufiigt

oder

ab-

schwdcht.

Wenn

der

Session'

SOO-Verstarker

fur

Gitarre

eingesetzt

wird,

bringt

der

"String

Effect"

eine

umfangreiche

Reihe

von

Clber-

steuerungs-Effekten

fur

heuiige

Rock-

Sounds.

REVERB

(HALL)"

Unser

Phase-Shifter

Ist

eine

voilige

Neu-

entwicklung,

und

unserer

Meinung

nach

unter

alien

anderen.

in

Verstarkern

oder

Pedalen

Unser

Hail-System

ist

voilstandig

variabei

zwischen

einem

kaum

wahrnehmbaren.

trans-

parenten

und

einem

extrem

lieten,

intenslven

Hali-Effekt.

Neue

Schaltungen

in

der

Feed-

back-Schiaufe

optimiert

die

Charakteristik

der

Hammond

Type

IV-Haiifeder.

Der

Hall

ist

bei

den

meislen

Verstarkern

uber

einen

Schalter

im

Automix^''-Pedal

zuschaltbar.

PEAVEY

ELECTRONICS

CORPORATION

711

A

Street

/

Meridian,

MS

39301

/

U.S.A.

PUMP/PULL

SMOOTH

"Pump"

und

"Pull

Smooth"

sind

neue

Features,

welche

im

Zusammenhang

mit

dem

Roadmasler'-Verst^rker

entwickeit

wur

den.

Der

"Pumpo-Regier

beeinflusst

die

Uber-

steuerungs-Charakteristik

des

Verstarkers,

und

lasst

einen

wahren

Regenbogen

von

To-

nailtaten

zwischen

weicher

R&B-

und

Blues-

Verzerrung

und

der

"heavy"

Verzerrung/Su-

stain

moderner

Rock-Sounds

zu.

Durch

Herauszlehen

des

"Pump"-Reglers

kommt

die

"Harmonics"-Schallung

zum

Ein-

satz,

welche

die

von

der

"Pump"-Schaitung

erzeugten

Obertone

nochmals

zusatziich

un-

terstreicht.

Wenn

weichere

Verzerrungen

gewunscht

sind.

kann

das

"Pull

Smooth»-FeBture

einge

setzt

werden,

welches

die

Kontur

der

hoheren

Frequenzen

abrundet.

HIGH

POWER/STANDBY

LOW

POWER

SCHALTER

Dieses

Feature

an

unseren

Rohren-Typ-

Verstarkern

lasst

zwischen

Voil-

oder

1/4-Lei-

slung

(haibes

Voiumen)

wahien,

um

auch

bei

unterschiedlichen

Lautsldrken

die

lypische

Obersteuerungs-Charakteristlk

beibehalten

zu

kdnnen.

Die

Mlltenstellung

des

Schalters

setzt

den

Verstarker

in

Standby.

GROUND

REVERSAL/LIFT

SCHALTER

Dieser

3-Positionen-Schalter

eriaubt

die

Phasenumkehrung

der'Vietzversorgung.

oder

in

der

"0"-Steliung

das

Entfernen

des

inlernen

Erdungs-Kondensators

von

den

Schaltungen.

Diese

Steliung

wird

in

Siluationen

emplohlen,

wo

uber

eine

Stromversorgung

mil

einem

gut

geerdeten

dritten

Anschluss

verfugt

wird.

Die

Slellungen

"-h"

und

kdnnen

be!

zweipoii-

gen

Anschiiissen

verwendet

werden,

um

Netz-

bfumm

zu

verhindern.

Dieser

Schalter

ist

aulgrund

Ixesonderer

Vorschriften

in

verschiedenen

LSndern

bei

Ex-

port-Versionen

nicht

angeschiossen.

IMPEDANCE

MATCHING

OUTPUT

TRANSFORMER

Ein

spezieiier

Ausgangs-Transformer

lasst

Lautsprecher

mil

unterschiedlichen

Im-

pedanzen

am

Verstarker

betrelben.

Dieses

Feature

bietet

grdssle

System-Flexibilltdt.

wunn

zusatziiche

Lautsprecher

oder

andere

als

die

eingebaulen

verwendet

werden.

■

LINE

OUTPUT

Unser

Line-Ausgang

unterscheldet

sich

von

Vorverslarker-AusgSngen

durch

eine

spe

zieile

Frequenz-KompensBtion,

welche

den

Anschluss

an

ein

PA-

oder

Studlo-Mischpult

ohne

externe

D.I.-(Difect

lnjection)-Box

er

iaubt.

Frequenz-Kompenaatlon

ist

notwendig,

um

die

starke

Hdhenanhebung

zu

korrigieren.

welche

bei

alien

instrumenlen-Verstarkern

eingesetzt

wird.

um

den

Frenquenzgang

typi-

scher

instrumenten-Laulsprecher

anzugiei-

chen.

Die

Absenkung

ermdglicht

ein

Misch-

puit-Signai.

welches

kiangllch

demjenlgen

des

Lautsprechers

sehr

ahnlich

Ist.

■

PREAMP

OUTPUT/POWER

AMP

INPUT

(EFFECTS

LOOP)

Ein

Einschlauf-Punkt

im

Verstarker

er

iaubt

einen

wesentiich

gerduschfreieren

Ein-

salz

von

Effekt-Pedaien

("in-Line

Patching").

Der

Vorverstdrker-Ausgang

wird

auf

den

Ein-

gang

des

Effekts

gefiihrt,

dessen

Ausgang

auf

den

Endstuten-Eingang

des

Verstdrkers.

Die

Anschiusse

kdnnen

auch

verwendet

werden,

um

Zugriffaut

Vorversldrkerund

End-

slufe

zu

erhalten,

wenn

es

um

die

Verschiau-

fung

mehrerer

Verstarker

geht.

.STECKFELD

Die

meislen

PEAVEY-Verstarker

verfiigen

uber

ein

Steckfeld

mit

Einschlauf-

und

Abgriff-

Punkten,

mit

dem

zusatziiche

Erweiterungs-

Mdglichkeilen

gewonnen

werden.

.

DDT"

KOMPRESSION

Eines

der

grdssten

Probieme

von

Bas-

sisten,

sber

auch

einiger

Gllarristen

(speziell

Steel-.

Jazz-

und

Country-Spieler),

ist

der

Man

gel

an

Endstufen-Leistung

In

einem

portablen

System.

Diese

Spieiarten

veriangen

nach

ei

nem

sauberen,

hohen

Ausgangs-Signai

mit

sehr

nlederer

Verzerrung.

Unsere

patentierte

ODT'-Kompresslons-

Schaitung

hiifl,

diese

Antorderung

voil

zu

er-

fiiilen.

Sie

entdeckt

fruhzeitig

Situatlonen,

wel

che

zu

Verzerrungen

fiihren

wurden.

und

schaitet

Kompression

in

den

Signaifiuss

ein.

welche

fur

gieichbieibende

Leistungsreserve

sorgt

und

damil

ein

"Clippen"

verhindert.

Beim

Abklingen

der

Situation

wird

die

Kom

pression

wieder

ausgeschaitet.

Dieses

wichlige

und

neuartige

Feature

steiit

die

optimaie

AusnUtzung

jedes

einzeinen

Watts

Verstdrker-Leistung

bei

gieichzeitiger

Beibehaltung

der

fiir

Live-Programme

wlchti-

gen

Oynamik

sicher.

KONSTRUKTION

UND

MATERIAL

Sleilen

Sie

Vergieiche

iiber

die

Materiai-

und

Verarbeilungs-Quaiilal

-

ausserllch

wie

auch

im

innern

unserer

Verstarker

-

mit

Modei-

len

unserer

Konkurrenten

ani

Aile

PEAVEY-

Verstarker

sind

aus

quaiilaliv

hochslehen-

dem.

fast

2

cm

dickem

Material

gearbeitet.

und

mil

dauerhaftem,

sirapazierfahigem

Vinyl

uberzogen.

INGRESS!

AO

ALTO

E

BASSO

.

GUADAGNO

La

magglor

parte

degll

ampllflcatorl

Peavey

hanno

due

jack

dl

Ingreaso

per

strumentl,

avenii

ognuno

differente

struttura

dl

senalbilltd

e

guadagno.

II

jack

"HIGH

GAIN"

ha

un'

alta

Impedenza

e

senslbiiUA

rispetio

al

jack

"LOW

GAIN";

6

11

jack

normalmente

usato,

speclalmente

quando

al

desldera

avere

la

masslma

diatorslone

o

sovrappllotagglo.

II

jack

a

baaao

guadagno

ha

approsslmatlva-

mente

-CdB

dl

guadagno

e

viene

usalo

con

strumenti

che

hanno

Pick-ups

"ardentl",

I

quail

manderebbero

subito

in

sovraccarico

I'lngresao

ad

alto

guadagno,

causando

una

sgradevole

tonalltii.

II

noatro

apeclale

circuito

dl

Ingreaso,

permette

al

muslclsta

dl

accopplare

le

caratterlallche

dl

uaclta

del

suo

strumento

con

I

circultl

dl

Ingreaso

del

nostro

amplltlcatore,

ottenendo

coal

I'ottlmaie.

D0PP10

CANALE

Moltl

del

nostrl

ampllflcatorl

hanno

due

canali,

per

permeltere

al

muslclsta

dl

crearsi

due

diflerenll

suoni.

Ouesia

caratteristlca,

se

usala

In

congiunzlone

con

11

pedale

Automix,

permette

dl

passare

istantaneamente

da

un

tipo

dl

suono

ad

un'altro;

un

parllcolare

aprezzato

da

chl

dal

vivo.

AUTOMIX'"

II

nostro

circuito

Automix

permette

dl

selezlonare

II

canale

o

comblnarlo

per

mezzo

dl

un

pedale.

In

alcuni

modelll

II

pedale

serve

anche

per

azionare

degll

etietti

come

la

aaturazlone,

II

phasing

e

II

reverbero.

Uno

apeclale

ed

efflcente

circuito

elettronico

fa

si

che

la

selezlone

awenga

in

manlera

sllenzlosa.

In

atcuni

modelll

sono

preaenti

del

leda

per

vlsuallzzare

II

canale

In

funzlone.

COMANDO

Dl

GUADAGNO

PRE

E

POST

TuttI

gll

ampllflcatorl

Peavey

hanno

II

circuito

Pre

e

Post

Gain.

OuestI

controlll

lavorano

In

tandem

per

ottenere

un

elevate

contenuto

armonlco

e

un

perfetto

pllotagglo.

II

Pre

guadagno

atablllsce

II

dl

della

preampllflcatrlce.

mentre

II

Post

Gain

stablllace

II

livello

dl

senslbllltd

dello

itadlo

dl

potenzB,

stabllendo

II

volume

dl

tutio

11

sistema.

INTERRUTTORE

Dl

BRILLANTEZZA.

L'lnterruttore

dl

brlllantezza

quando

6

atllvo

(Ifrando

llpomello)

aumenta

dl6dBI2

kHz.

Quesia

esallazlone

caratterlzza

alcuni

still.

INTERRUTTORE

THICK

Quando

si

attlva

(tirando

II

pomello),

alters

drastlcamente

la

rlsposta

dl

tutto

II

slatema

dl

equallzzazlone

delt'ampllflca-

tore.

Un

signlflcanle

aumento

delle

frequenze

medic

alle

crea

una

tonallta

complela

e

ricca

dl

armonlche,

sulle

frequenze

medloalte.

L'odlerno

suono

Rock

si

puO

conseguire

molto

facllmente

In

congiunzlone

con

II

circuito

Saturation.

SATURATION"

II

Saturation

(U.S.

Pat.

4,405,832)

e

un

circuito

allamente

aoflstlcalo

che

produce

"compreaslone

dl

guadagno"

molto

simile

a

quella

che

si

ottlene

quando

si

pllota

al

llmlte

un

ampllflcatore

a

valvole.

La

diatorslone

&

estremamenio

sofflce

con

un

lieve

sustain

e

una

calda

tonallta.

E'

un

suono

che

prevale

altualmente

nella

muslca,

questo

suono

pu6

essere

facllmente

riprodotto

da

queato

circuito

con

un

basso

livello

dl

volume.

La

caratteristlca

Saturation

nonO

untruccoper

conseguire

quel

suono

"fuzz",

ma

un

circuito

progettato

per

sinletlzzare

II

suono

valvolare.

L'ammontare

delleffelto

viene

controllato

dal

pannello

frontale

e

selezlonablle

tramlte

un

controllo

a

pedale.

EQUALIZZAZIONE

L'lmportanzadl

un

alstemadi

equallzzazlone

in

un

ampllflcatore,

non

deve

essere

esagerata.

Moltl

ampllflcatorl

aono

famoal

perche

hanno

una

ben

diatlnia

e

caratteristlca

tonallta

(con

la

posslblllta

perO

dl

piccole

varlazlonl).

La

Peavey

ha

optato

per

un

circuito

dl

equallzzazlone

versatile,

per

permettere

la

creazlone

dl

molte

different!

strutture

dl

tonallta.

Different!

appllcazionl

e

varieta

dl

still

e

gusti

musicall

rlchledono

moltl

lipl

dl

circultl

dl

equallzzazlone.

DIamo

dl

segulto

una

breve

descrlzlone

dl

diversi

sistemi

dl

equallzzazlone

del

nostrl

ampllflcatorl.

Tutte

le

ultlme

tecnologle

elettronlche

aono

state

appllcate

In

questo

sistema.

EQ

PASSIVA

A

TRE

BANDE

Moltl

chltarrlstl

preferiscono

requallzzazlone

standard

(altl

medl

basal).

L'azlone

dl

ognl

banda

dl

frequenza

al

concatena

con

la

banda

adiacente

In

modo

da

ottenere

difterenll

posslblllta

dl

tonallta.

EQ

ATTIVA

A

TRE

BANDE

—

La

popolarlta

dell'equallzzazlone

attiva

va

crescendo

tra

moltl

muslclstl,

I

quail

scoprono

le

posslblllta

dl

controllo

che

si

possono

ottenere

con

questi

tipl

dl

circultl.

Le

Ire

bande

(altl,

medl.

bassi)

sono

approsslmatlvamente

le

stesse

dl

un

circuito

passlvo,

eccetto

le

scrltte.

Nella

poalzlone

centrale

vl

a

rlportato

lo

zero

(0).

ciO

Indies

che

in

quests

poslzione

si

ha

una

rlsposta

piatta,

con

la

posslblllta

dl

avere

un

aumento

(■*■)

o

una

dimlnulzione

(-)

dl

15d6.

II

funzlonamento

dl

ognl

banda

a

Indlpendente

dall'altra,

vi

a

solo

una

minimaInterazlone.

CLOSSARIO

DELLE

CARATTERISTICHE

PRESENT!

SUGLI

AMPLIFICATORI

PER

CHITARRA

E

BASSO

PEAVEY.

PRESENZA

II

nostro

controllo

dl

presenza

e

attivo,

con

un

aumento

0

una

dimlnulzione

di

12dB.

Essoaglsce

sulla

banda

delle

alte

frequenze

al

dl

sopra

delta

reglone

controllata

dal

circuito

dl

controllo

del

tonlalti.

Questaquarta

banda

serve

per

arrlcchire

(poslzione

■>■)

o

pulire

(poslzione

-]

II

suono.

-PARAMID'"

Questo

nostro

circuito

permette

un

pliii

flesslblle

controllo

nella

Importante

reglone

delle

medle

frequenze.

senza

un

eccesslva

compllcazlone,

che

si

riscontra

In

un

circuito

parametrico.

II

muslclsta

pud

sintonlzzarsi

In

qualsiasi

punto

della

frequenza

compresa

tra

150Hz

e

1500

Hz.

Una

voltascelta

la

frequenza

ne

puO

mutare

II

guadagno

-t-Z-lSdB.

La

banda

passante

(o

II

Q)

della

frequenza

centrale

selezlonata

0

presettata.

-PARAMETRICO

Un

aulenileo

circuito

dl

EQ

parametrico

0

rappresenlato

da

un

controllo

lotale

dl

tutta

la

struttura

ionale

della

reglone

stabllita.

Con

questo

circuito

h

possiblleselezlonare

frequenza,

banda,

guadagno.

EQUALIZZATORE

GRAFICO

Alcuni

del

nostrl

ampllflcatorl

a

due

canali,

hanno

un

equalizzatore

a

sel

bande

poslo

nella

sezlone

master.

In

addlzlone

al

circultl

EQ

del

singoli

canali.

Ognl

canale

si

puO

mandare

all'equallzzaiore

grafico

o

bypasaarlo.

Le

sel

bande

sono

del

tlpo

attivo.

Usato

con

requallzzazlone

del

slngoio

canale

si

ha

la

possibility

dl

avere

una

vasta

varlazlone

dl

tonality.

VARIATORE

Dl

FASE

II

nostro

varlalore

dl

fase

y

un

circuito

completamenle

nuovo

ed e

uno

del

migllorl

esistentl

oggi

sul

mercato.

Esso

y

Incorporalo

airampllflcalore.

II

controllo

depth

controlla

rintenslty

deU'effelio,

mentre

II

range

controlla

la

velocity

del

cambiamento

dl

lase.

Una

varlazlone

dl

fase

molto

lenta

con

una

velocity

veloce,

dy

la

simulazlone

dl

un

altoparlante

che

gira

(leslle).

II

controllo

range

ports

un

Interrutlore

"PULL

SET"

Questo

Inlerrutlore,

caratteristlca

unica

Peavey,

permette

al

muslclsta

dl

bloccare

la

varlazlone

di

fase

In

un

qualsiasi

punto

dl

frequenza

deslderato.

Quando

11

pulsante

viene

tirsto,

automatlcamente

la

varlazlone

dl

fase

si

ferma.

GIrando

la

manopola

del

range

si

ha

una

varlazlone

dl

fase

su

ognl

punto

dl

frequenza

deslderato

e

solo

In

quel

punto.

Oueita

caratterlslica

apre

un

ampio

spettro

dl

effettl.

Speclalmente

quando

II

controllo

y

poslo

sulle

poslzloni

alte.

EFFETTO

STRING

L'effetto

STRING

i

una

noslra

caratteristlca

presents

suirampllficaiore

SESSION

500.

La

serie

Session,

y

stata

la

preferlta

dal

chltarrlstl

per

moltl

annl.

L'effetto

string

duplica

efficacemente

l'effetto

degll

archi

quando

y

usato

In

congiunzlone

con

It

pedale

volume.

II

controllo

level

agglusta

II

guadagno

dell'effetlo

quando

II

controllo

EDGE

addlzlone

o

sottrae

un

lotllle

sovrattono

per

ottenere

una

tonality

simile

a

quella

del

viollnl.

Quando

II

Session

viene

usato

con

la

chltarra

l'effettostring

produce

una

rlchez<a

dl

IntreccI

e

sovraccarlchi

adatti

per

lo

stile

Rock.

REVERBERO

II

nostro

effelto

dl

reverbero

y

completamente

varlablle

In

moltl

cast

Impercelllblleetrasparente

come

un

potente

eco.

II

nuovo

circuito

usa

una

molla

dl

reverbero

con

una

autorlclrcolazlone

che

aumenta

eleltronicamente

II

funzlonamento

della llnea

di

ritardo

hammond

tlpo

IV.

L'effetto

reverbero

y

selezlonablle.

In

moltl

modelll,

tramlte

II

pedale

Automix.

PUMP/PULL

SMOOTH

II

"PUMP"

e

II

"PULL

SMOOTH"

sono

due

nuove

caratterlstlche

progeltate

perl'ampllflca-

tore

Roadmaster.

II

controllo

"PUMP"

yun

effelto

che

aumenta

la

dinamica

deH'ampllflcatore

per

creare

un

arcobaleno

dl

tesslture

nel

campo

della

dltiorslone

sofflce

del

RAR

e

BLUES.

Mentre

al

ha

una

dltiorslone

pesante

con

sustain

sul

moderno

Rock.

Tirando

la

manopola

del

controllo

pump

si

aziona

II

circuito

"Armonlcs",

II

quale

varia

le

armonlche

superlorl.

Quando

tl

desldera

una

tessitura

dl

distorslone

sofflce

la

caratterestlca

"PULL

SMOOTH"

pub

essere

utillzzala

per

conlornare

la

parte

alia

con

la

quality

e

la

quantity

dl

dldtorslone

ditponlblle.

INTERRUTTORE

Dl

ALTA

POTENZA/

STAN6Y/BASSA

POTENZA

Quests

caratteristlca

presente

su

tuttl

gll

ampllllcatori

a

valvole

permette

dl

far

funzlonare

tall

ampllflcatorl

a

plena

potenza

o

a

1/4

dl

potenza

(Meiy

SPL).

Questo

permette

dl

suonare

In

saturazlone

senza

varlare

I

llvelll.

Nella

poslzione

centrale

II

commutatore

a

tre

poslzloni

mantlene

l

ampllficatore

In

attesa.

—

INTERRUTTORE

GND

+/■

A

rlspefto

delle

norme

europee

In

materia

dl

elettrlclty,

questo

Inierrultore

non

y

attivo.

PEAVEY

ELECTRONICS

CORPORATfON

711

A

Street

/

Meridian,

MS

39301

/

U.S.A.

ACCOPPIATORE

Dl

IMPENDENZA

TRASFORMATORE

Dl

USCITA

Uno speclale

trasformalore

dl

usclta

permette

airampMflcatore

dl

erogare

tutta

la

masslma

potenza

In

usclta

su

dlfferenll

carlchl.

Quests

caratteristlca

da

al

sistema

una

gran

fleaslblllty

nell'uso

con

alioparianti

esterni.

-USCITA

LINEA

La

nostra

usclta

llnea

y

diflerente

daU'usclta

preampllflcalore,

perchy

use

una

compenaazl-

one

In

frequenze

per

permettere

dl

effettuare

una

mnesslone

diretta

In

una

coniolle

in

studio,

senza

prendere

una

diretta

eslerna.

La

compensazlone

In

frequenza

y

necessaria per

denfatlzzare

la

grande

quantity

dl

alte

frequenze

che

si

hanno

In

tuttl

gll

ampllflcatorl

strumentall

(questa

EQ

extra

serve

per

compensare

rlsposta

degll

altoparianti

tiplcl

per

strumenti

musicall).

Questa

compensazlone

dl

frequenza

si

deve

togllere

quando

si

manda

II

segnale

al

mixer

cosi

facendo

si

ha

che

II

segnale

che

esce

daH'alloparlanle

del

proprlo

amptlficatore

y

uguale

a

quello

Invlato

al

mixer

(come

contenuto

armonlco).

"USCITA

PREAMPLIFICATORE/

INGRESSO

AMPLIFICATORE

(INSERIMENTO

EFFETTI)

E'

una

connetslone

dl

rllorno

effettl

sllenzlosa

ed

efflcente.

Viene

usata

per

avere

In

llnea

effetto

estemo.

L'usclta

del

preamp

vS

collegala

all'lngreeso

deU'effelto

e

{'uicila

deU'effetto

vS

collegala

all'lngresso

deM'ampllflcatore

di

potenza.

Si

crea

cosi

un

Inserlmento

dell'etfetto

tra

l'usclta

del

preampiiflcatore

e

I'lngretso

dell'ampliflcatore.

I

jacks

si

possono

usare

separatamente

quando

si

deve

accedere

al

ilngoll

circultl

Interni

In

sIstemI

in

cul

necessltano

le

uaclte,

o

utare

l'usclta

ampllflcatore

altoparlante

come

un

Ingresto

Buslllarlo.

^—PANNELLO

CONNESIONI

Moltl

ampllflcatorl

Peavey

sono

costrulll

c

un

pannello

di

connestloni

per

dare

u

llessibllity

eddlzionale

al

sistema.

DDT'"

COMPRESSORE

Uno

del

magglorl

problemi

che

Inconlre

II

basslsta

e

alcuni

chltarrlstl

(speclalmente

jazzisll)

y

la

mancanza

dl

potenza

nel

sIstemI

portatlll.

Alcuni

still

partlcolarlvogllonoun

suono

pullto

ad

alto

volume

con

pochlstlma

diatorslone.

II

nostro

compressore

DDT

(U.S.

Pat.

4,318,053)

permette

al

muslclsta

dl

evitare

M

problema

del

sovrappllotagglo.

Un

circuito

elettronico

sente

quando

t'ampMflcatore

vy

In

clipping

automatlcamente

aziona

uno

speclale

circuito

che

abbassa

II

livello

del

segnale.

prevenendo

cosi

N

clipping.

Quando

la

slluazione

dl

clipping

non

susslste

plu

II

circuito

si

ditaltlva

permeltendo

airampllflcalore

dl

funzlonare

normalmente,

Questa y

una

caratteristlca

molto

Importante

ed

Innovativa,

polchy

permette

la

masslma

utillzzazlone

del

vattagglo

dell'ampllficatore,

mantenendo

tutta

la

dinamica

presente

nel

materlale

che

al

sta

suonando.

COSTRUZIONE

E

MATERIAL!

VI

Invltlamo

ad

lipezzlonare

tuttl

I

nostrl

prodotti

e

comparare

I

nostrl

melodi

dl

coitruzlone

el

nostrl

materlali

.

..dentroeluori

con

I

nostrl

concorrentl.

Tuttl

gll

ampllflcalorl

Peavey

aono

costrulti

con

materlali

dl alia

quality

da

3/4"

ricoperti

In

vinll

da

34

oz

duro

e

resislenle.

HIGH

AND

LOW

INPUTS

Most

Peavey

amps

feature

two

Instrument

input

jacks,

each

having

a

different

sensitivity

and

gain

structure.

The

high-gain

jack

has

considerably

more

sensitivity

and

impedance

than

the

tow-gain

jack

and

is

the

input

normally

used,

especially

when

maximum

distortion

and

overdrive

are

desired.

The

low-gain

jack

exhibits

approximately

6

dB

less

gain

and

is

intended

primarily

for

use

with

instruments

which

have

extremely

high

output

pickups.

"Hot"

pickups

will

sometimes

prematurely

overload

the

high-gain

fnput

jack,

causing

an

unpleasant

tonality

and

harsh

overdrive

characteristics.

Our

unique

input

circuitry

allows

the

player

to

match

his

instrument

output

characteristics

to

the

amp's

input

circuitry,

providing

an

optimum

situation.

DUAL

CHANNELS-

Many

of

our

amps

feature

dual

channel

operation,

allowing

the

player

to

set

up

two

distinctly

different

sounds.

Used

in

conjunction

with

the

Automix"

foolswitch

this

feature

gives

the

capability

of

switching

from

one

sound

to

another

instantly,

a

particularly

desirable

function

during

a

live

performance.

AUTOMIX'"-

Our

Automix"

circuitry

allows

channel

selection

and

switching

via

a

remote

footswitch.

Other

effects

such

as

Saturation",

reverb

and

phasing

may

also

be

selected

on

some

models.

Special

switching

circuitry

assures

quiet,

efficient

operation

of

this

feature.

Some

amp

models

feature

colored

LEDs

(light

emitting

diodes)

for

visual

indication

of

the

activated

channei(s).

PRE

AND

POST

GAIN

CONTROLS

Every

Peavey

instrument

amplifier

features

our

unique

pre

and

post

gain

control

circuitry.

These

controls

work

in

tandem

to

set

tfie

amp's

harmonic

content,

gain

structure,

and

operating

level.

The

pre

gain

sets

the

operating

point

of

the

preamp

section

while

Ihe

post

gain

sets

the

sensitivity

level

of

the

power

amp

and

thus

the

overall

volume

level

of

the

system.

PULL

BRIGHT

The

pull

bright

feature

adds

a

significant

boost

(6

dB

at

2

KHz)

to

Ihe

high

frequencies

when

activated.

This

boost

gives

a

nice

"bite"

to

clean

playing

styles.

PULL

THICK

When

activated,

the

pull

thick

effect

drastically

alters

Ihe

response

of

the

amp's

entire

equalization

system.

Significant

amounts

of

upper

mid

frequency

boost

in

a

specially

tailored

configuration

create

a

full

and

harmonically

thick,

mid-range

tonality.

Today's

"rock"

sound

may

be

produced

quite

easily

when

Ihe

thick

effect

is

used

in

conjunction

with

our

Saturation'"

circuitry.

SATURATION'"-

Saturation"

(patent

applied

for)

Is

a

highly

sophisticated

circuit

that

yields

"gain

mpression"

in

a

fashion

very

similar

to

a

vacuum

tube

when

It

is

driven

to

its

limits.

The

extremely

smooth

distortion,

"singing

sustain,"

and

warm

tonality

that

is

so

prevalent

in

today's

music

are

produced

by

this

circuitry...even

at

low

volume

levels.

The

Saturation"

feature

is

not

another

iz

tone

gimmick"

but

an

actual

breakthrough

in

circuitry

design

that

synthesizes

the

action

of

vacuum

tubes

(valves)

driven

fiat

out.

The

amouni

of

Saturation"

effecl

is

infinitely

controiiabie

at

the

front

panel

of

the

amp

and

is

remotely

selectable

from

an

external

foolswitch.

EQUALIZATION

The

importance

of

an

amplifier's

equalization

system

cannot

be

overstated.

While

some

amps

have

become

known

for

distinguishable

tonal

characteristic

(with

little

possible

variation)

Peavey

has

opted

for

the

mosi

versatile

equalization

circuitry

possible

to

allow

the

creation

of

y

differeni

and

exciting

tonal

structures.

Different

applications

and

varied

musical

styles

and

tastes

demand

many

types

of

equalization

circuitry.

Following

is

brief

description

and

explanation

of

Ihe

irtous

equalization

systems

employed

on

jr

amplifiers.

The

lalesf

developments

in

soifd-stale

design

and

state-of-the-art

electronic

technology

were

utilized

in

the

development

and

construction

of

these

equalization

systems.

THREE-BAND

PASSIVE

EG

—

Many

guitarists

lavor

the

standard

iow-

mid-high

passive

EO

formal.

The

action

of

each

frequency

band

overlaps

and

interacts

with

the

adjoining

barfti

to

produce

many

different

tonal

possibilities.

THREE-BAND

ACTIVE

EO—

The

popularity

of

active

equalization

continues

lo

grow

as

many

musicians

discover

the

added

control

made

possible

with

this

type

of

circuitry.

The

three

bands

(low-mid-high)

are

approximately

the

same

in

Ihe

passive

three-band

circuitry,

but

note

that

Ihe

markings

are

quite

difterent.

A

I'ciock

setting

(0)

indicates

a

fiat

response

with

15

dB

cut

(-]

or

boost

(-^)

possible

at

maximum

settings.

Operation

of

each

band

is

largely

independent,

with

inimai

interaction

between

the

other

bands

of

frequencies.

A

GLOSSARY

OF

PEAVEY

GUITAR

AND

BASS

AMP

FEATURES

m,

m

m)

m

PRESENCE

Our

Presence

control

is

active,

allowing

12

dB

ol

boost

or

cut

in

an

extremely

high

band

of

frequencies

beyond

the

region

controlled

by

most

high

EO

circuitry.

This

fourth

band

can

make

the

output

extremely

mellow

yet

lively

(cut

position),

or

can

add

a

nice

"edge"

(boost

position)

lo

clean

playing

styles.

-PARAMID'"

Our

unique

Paramid"

circuitry

allows

additional

flexibriity

and

control

in

the

ail

important

mid

frequency

region

without

the

undue

complications

associated

with

fully

parametric

circuits.

The

player

may

"tune"

the

Paramid"

circuitry

to

any

point

in

the

mid

frequency

spectrum

from

150

Hz

to

1500

Hz

and

then

boost

or

cut

that

selected

frequency

up

to

15

dB.

The

bandwidth

or

"0"

ol

Ihe

selected

center

frequency

is

preset.

-PARAMETRIC

True

parametric

equalization

circuitry

allows

almost

infinite

control

over

the

tonal

structure

within

its

altecled

region.

Selection

ol

frequency,

bandwidth,

and

mode

(boost

or

cut)

is

possible

with

this

highly

specialized

circuitry.

GRAPHIC

EQUALIZER

Some

ol

our

dual

channel

amps

feature

a

six-band

grsphic

equalizer

in

their

master

sections,

in

addition

to

their

channel

EO

circuitry.

Either

channel

or

both

may

be

routed

through,

or

may

bypass

Ihe

graphic.

The

six

bands

feature

entirely

active

circuitry

and

in

combinalion

with

the

individual

channel

EO

provides

a

wide

range

of

lonal

variations.

PHASE

SHIFTER

Our

phase

shifter

is

an

entirely

new

design

and

one

that

we

leel

is

the

best

A

depth

control

varies

Ihe

intensity

of

the

effect

while

a

range

control

sets

the

speed

ol

the

phasing

from

a

very

slow,

barely

perceptible,

"sweep

"

to

an

extremely

fast

rale,

similar

to

a

rotating

speaker.

The

range

control

also

features

an

integral

pull

switch

thai

we

call

"Pull

Set."

This

unique

feature

allows

the

player

to

slop

Ihe

sweep

of

the

phase

circuit

at

any

point

in

its

travel

through

the

frequency

spectrum.

When

the

switch

is

pulled

to

its

out

position

Ihe

automatic

sweep

is

stopped.

The

phaser

may

then

be

set

at

any

frequency

point

in

its

sweep

by

manually

rotating

the

pull

set/range

control.

This

unique

feature

opens

up

a

whole

new

spectrum

of

effects,

especially

when

the

depth

control

is

operated

at

its

higher

settings.

STRING

EFFECT

The

String

Effect

is

a

feature

ol

our

acclaimed

Session*

500.

The

Session*

Series

ol amplifiers

have

been

the

choice

ol

pedal

steel

guitarists

lor

many

years.

At

their

request,

we

added

the

String

Effect

which

efficiently

duplicates

bowing

and

"fiddle"

effects

when

used

in

conjunction

with

a

volume

pedal.

The

Level

Controls

adjust

Ihe

gain

ol

the

effect

while

the

Edge

Control

adds

or

subtracts

Ihe

subtle

overtones

for

smooth

rosin-like

ionaiitles.

When

the

Session'

500

is

used

for

guitar.

Ihe

Siring

Effect

produces

a

wealth

ol

rich,

overload

textures

lor

rock

styles.

REVERB

Our

reverb

effect

is

completely

variable

from

an

almost

indislincl,

Iransparenl

level

lo

an

extremely

deep

sounding

"reverberation

wail."

The

new

circuitry

used

the

reverb

coil

itself

in

the

feedback

loop

to

efeclronicaily

maximize

the

performance

of

Ihe

Hammond

Type

iV

delay

line.

The

reverb

effect

is

remoleiy

seieclabie

from

Ihe

Automix'"

footswiich

on

most

amp

models.

PEAVEY

ELECTRONICS

CORPORATION

711

A

Street

/

Meridian,

MS

39301

/

U.S.A.

PUMP/PULL

SMOOTH

The

Pump

and

Pull

Smooth

are

that

have

been

designed

lor

the

"Roadmaster"

"

amplilier.

The

Pump

control

affects

the

amp's

overload

dynamics

to

create

a

rainbow

of

textures

ranging

from

the

soft

distortion

of

R

&

B

and

Blues

lo

the

heavy

distortion

and

sustain

of

modern

Rock.

The

Pump

control's

pull

switch,

labeled

"Harmonics,

"

enhances

the

upper

overtones

created

by

the

Pump

circuit

for

harmonic

accentuation.

When

"silkier"

distortion

textures

are

desired,

the

Pull

Smooth

feature

can

be

utilized

to

contour

Ihe

high

end

and

"round

out"

Ihe

variety

of

distortion

qualities

available.

HIGH

POWER/STANDBY/

LOW

POWER

SWITCH

This

feature

enables

operation

of

out

lube-type

amps

at

lull

power

or

1/4

power

(hail

the

SPL)

to

permit

playing

at

various

levels

while

retaining

desirable

overdrive

characteristics.

The

center

position

of

the

three

position

switch

places

Ihe

amplifier

in

a

standby

mode.

GROUND

REVERSAL/LIFT

SWITCH

This

unique

feature

employs

a

three-

position

switch

with

the

center

(0)

position

completely

removing

the

internal

grounding

capacitor

from

Ihe

amp's

circuitry.

This

position

(0)

is

normaiiy

recommended

for

silualions

where

the

AC

power

receptacle

is

known

lo

contain

a

properly

grounded

third

wire.

Pius

(<)

and

minus

(-)

positions

are

used

when

only

two

wire

services

are

available.

One

ot

these

positions

will

yield

the

lowest

amount

of

residual

hum

or

popping

when

Ihe

instrument

is

touched.

NOTE:

This

switch

is

deactivated

in

export

models

due

to

special

requirements

of

other

nations.

IMPEDANCE

MATCHING

OUTPUT

TRANSFORMER

A

special

output

transtormer

allows

Ihe

amp

lo

deliver

its

lull

rated

power

output

Into

different

speaker

loads.

This

feature

provides

additional

system

flexibility

and

ensures

optimum

performance

into

other

than

internal

speaker

configurations.

.

LINE

OUTPUT

Our

line

output

differs

from

a

preamp

output

in

that

it

has

been

"frequency

compensated"

to

allow

direct

patching

to

sound

reinforcement

or

studio

mixing

consoles

without

an

external

direct

box.

Frequency

compensation

is

necessary

to

"de-emphasize

"

large

amounts

ol

high

frequency

equalization

built

into

ail

instrument

amplifiers

(this

extra

EO

makes

up

lor

the

lack

of

high

frequency

response

in

typical

musical

instrument

loudspeakers).

Tills

high

frequency

padding

allows

the

signal

delivered

to

Ihe

mixing

console

to

very

closely

match

what

is

heard

at

Ihe

amp's

own

speaker

system.

-

PREAMP

OUTPUT/POWER

AMP

INPUT

(EFFECTS

LOOP)

An

elfects

patching

loop

provides

quieter,

more

efficient

operation

of

external

effects

devices

by

enabling

"in-tine"

patching

through

the

internal

circuitry

ol

the

ampiitier.

The

preamp

output

is

patched

10

the

external

device's

input

and

the

device's

output

is

patched

lo

the

poweramp

Input,

effectively

creating

a

"loop"

for

signal

(low

Irom

the

eifects

device

output

back

to

the

power

amp.

The

jacks

may

be

used

Independently

when

access

is

required

to

Ihe

units

internal

circuitry

for

situations

such

as

daisy

chaining

auxiliary

power

amp/speaker

systems.

■

PATCH

PANELS

Most

Peavey

amplifiers

feature

some

form

of

patch

panel

to

provide

additional

system

flexibiiily

and

expansion

capability.

.

DDT'^

COMPRESSION

One

of

the

biggest

problems

encountered

by

bass

players

and

some

guitarists

(notably

steel,

jazz,

and

some

country

players)

is

the

lack

ot

internal

power

amp

performance

from

a

portable

system.

These

styles

are

particularly

demanding,

requiring

clean

output

and

high

volume

levels

with

very

low

distortion.

Our

DDT°

compression

(U.S.

Patent

#4,318,053)

enables

Ihese

players

to

avoid

the

overdriving

problems

encountered

in

the

past

by

electronicaiiy

sensing

the

onset

of

power

amp

dipping

and

automalicaily

engaging

special

circuitry

lo

retain

headroom

and

prevent

clipping

and

distortion.

When

the

dipping

situation

subsides,

Ihe

circuitry

disengages,

allowing

Ihe

ampiitier

to

return

to

its

normal

operation.

This

very

important

and

innovative

feature

ensures

maximum

utilization

of

every

precious

watt

Irom

the

power

amplifier

while

retaining

the

all

important

dynamics

present

in

live

program

material.

CONSTRUCTION

AND

MATERIALS

We

invite

a

dose

inspection

and

side

by

side

comparison

ol

our

construction

methods

and

malerials...inside

and

out...with

those

ot

any

of

our

competitors.

Ail

Peavey

amplifiers

are

constructed

of

Ihe

highest

quality,

3/4"

materials

and

are

covered

with

a

durable

and

roadworthy

34

oz.

vinyl

(the

heaviest

in

the

industry).

TROUBLESHOOTER

^

NO

SOUND

]

PILOT

LIGHT

ON

JPILOT

LIGHT

NOT

ON

Check

to

see

if

cord

from

amp

to

speakers

is.

connected.

i

—^

Cord

not

connected

|

{►!

Check

wall

outlet.

Plug

in

something

you

know

that

works.

Check

controls

(

including

switches)

for

normal

settings

Controls

not

set

^

Sound

OK

[

Replace

fuse

on

amp

(observe

rating.

)

[No

Sout^

1

r

Turn

volume

to

1/?

and

isten

for

hum

r

Check

line

cord,

plug,

and

on-off

switch.

I

HUM

[-

Unplug

cable

from

instrument

and

touch

the

tip

of

the

plug

Check

speakers

with

an

amp

you

know

is

operating.

T

Speakers

bad

.Speakers

OK

Loud

Hum

No

change

in

hum

level

I

Repla^speakers"!

Check

and

repair

pickup

on

instrument.

Return

to

authorized

Peavey

service

center

or

factory

service

department.

Check

cable

between

instrument

and

amp.

Repair

or

substitute

with

a

good

cable.

Amp

got

excessively

hot

and

cut

off.

->1no

voltage

I

Check

Speaker

Load:

Different

to

ps

are

designed

to

operate

into

different

loads.

Check

the

total

impedance

(load)

of

your

system

and

be

sure

it

is

matched

with

your

Amp.

Check

for

blown

house

fuse

and

replace.

Impedance

Mismatched

1

Sound

OK

_^jFuse

Bl

^

Fuse

blows

instantly

|

Fuse

blows

after

several

minutes

of

operation.

Impedance

Matched

Return

to

authorized

Peavey

service

center

or

factory

service

department.

Replace

cord

from

amp

to

sneakers.

Sound

OK

-

Fuse

does

not

blow.

r

Return

to

authorized

Peavey

service

center

or

factory

service

department.

DISTORTED

SOUNDT

In

all

channels

or

only

one

channel

if

amp

is

a

single

channel

unit

Control

settings

may

be

too

high

(especially

volume)

In

one

channel

only

if

amp

has

more

than

one

channel

Sound

OK

with

proper

control

adjustments

Loud

buzz

in

speakers

regardless

of

control

settings

Return

to

authorized

Peavey

service

center

or

factory

service

department

Pickup,

instrument,

or

connecting

cable

may

be

defective;substitute

with

one

known

to

be

good

if

possible

(especially

cable).

Cable

Defective

OK

[

Poor

Sound

I

Check

cord

from

amp

to

speakers

for

a

short

[

Cord

OK

]

Cord

Shorted

Check

speakers

with

another

amp.

I

Speakers

OK

i

Return

to

authorized

Peavey

service

center

or

factory

service

department

Sound

OK

Speakers

Sound

OK

Often

when

an

amp

provides

poor,

erratic,

or

no

performance,

it

is

due

to

minor

probiems

or

irreguiarities

which

may

be

corrected

easiiy

by

anyone,

even

if

you

know

very

iittie

about

eiectronics.

This

sheet

has

been

prepared

in

an

effort

to

provide

a

simplified

method

for

troubleshooting

probiems

in

the

field.

By

following

this

chart

you

should

be

able

to

determine

if

your

problem

is

minor

and

easiiy

cor

rected

or

if

you

should

send

your

amp

in

for

repair.

in

the

event

that

you

determine

youramp

to

be

defective

and

must

be

serviced,

you

should

return

it

to

an

authorized

PEAVEY

service

center.

If

a

PEAVEY

service

center

is

not

readily

accessible

you

should

return

your amp

PREPAID

with

FULL

explanation

of

your

problem

to

Peavey

Electronics,

711

A

Street.,

Meridian,

Miss.

39301.

Reference

of

Electronic

Terms

AMPLIFIER:

A

device

capable

of

increasing

the

magnitude

or

power

level

of

a

voltage

or

current

that

is

varying

with

time

(frequency),

without

distorting

the

wave

form

of

the

signal.

The

amplifier

Is,

just

as

the

word

implies,

a

signal

amplifier.

The

incoming

signal

from

any

program

material

source

is

far

too

weak

to

power

a

speaker

system.

The

role

of

the

amplifier

Is

to

take

that

weak

signal

and

strengthen

Ittothenecessary

power

level

to

operate

the

loudspeakers

with

minimal

distortion.

AMPERE:

A

unit

of

measurement

of

electrical

current

(I).

BALANCED

CABLE:

A

pair

of

wires

surrounded

by

a

braided

shield.

ATTENUATION:

The

reduction

In

level

of

a

signal.

BALANCED

LINE:

A

transmission

line

consisting

of

two

conductors

plus

a

braided

shield,

capable

of

being

operated

so

that

the

voltages

of

the

two

conductors

are

equal

In

magnitude

(voltage)

and

opposite

in

polarity

with

respect

to

ground.

BANDWIDTH:

Response

characteristic

in

which

a

definite

band

of

frequencies

having

a

low

frequency

and

high

frequency

limitare

transmitted

or

ampl

ified

uniformly.

BUS:

A

conductor

that

serves

as

a

common

connector

to

several

signal

sources,

always

associated

with

a

mix

ampl

ifier.

CLIPPING:

Amplifier

overload

causing

a

squaring

off

or

undesirable

change

In

the

wave

form

resulting

In

distortion

or

perceptible

mutilation

of

audio

signals.

COMPRESSION:

Reduction

of

the

effective

gain

of

an

amplifier

at

one

level

of

signal

with

respect

to

the

gain

at

a

lower

signal

level.

CURRENT:

(I)

The

rate

of

flow

(measured

In

amperes)

of

electricity

in

a

conductor

or

circuit.

CUT:

A

term

used

to

indicate

the

reduction

In

gain

of

a

frequency

or

band

of

frequencies

when

equalizing

an

audio

signal.

dB:

(Decibel)

—

A

unit

for

describing

the

ratio

of

two

voltages,

currents,

or

powers.

The

decibel

Is

based

on

a

logarithmic

scale,

when

measuring

differences

in

sound

pressure

level

(SPL),

the

amount

of

change

in

sound

pressure

level

perceivable

Is

directly

proportional

to

the

amount

of

stimulus

(the

more

sound

present,

the

greater

the

change

must

be,

to

be

perceived).

dBM:

A

decibel

scale

referenced

to

0

dBM

=

1

milliwatt

Into

600

ohms

or

.773

volts

RMS.

dBV:

A

decibel

scale

referenced

to

1

volt

RMS;

0

dBV

=

1

volt.

DIP:

A

reduction

in

gain

at

a

certain

frequency

also

called

a

notch.

ENCLOSURE:

An

acoustical

ly

designed

housing

or

structure

for

a

speaker.

FEEDBACK:

(Electronic)

The

return

of

a

portion

of

the

output

of

a

circuit

to

Its

input.

(Acoustic)

The

regeneration

of

a

signal

from

the

output

of

a

sound

system

into

a

microphone

Input.

FILTER:

An

electrical

or

electronic

device

that

permits

certain

frequencies

to

pass

while

obstructing

others

such

as

a

crossover

filter

used

with

loudspeakers.

FREQUENCY:

The

number

of

vibrations

or

osci

l

lations

In

units

per

second.

Measured

in

cycles

or

hertz

per

seconds.

The

rate

of

repetition

In

cycles

per

second

(Hertz)

of

musical

pitch

as

well

as

of

electrical

signals.

For

exam

pie,

the

number

of

waves

per

second

a

vibrating

device

such

as

piano

or

violin

string

moves

back

and

forth

In

each

second

of

time

to

produce

a

musical

tone.

FULL

RANGE:

The

entire

audio

spectrum,

20

Hz

-

20

KHz.

GAIN:

An

Increase

In

strength

or

amplitude

of

a

signal.

The

Increase

in

signal

power

that

Is

produced

by

an

ampl

ifier;

usually

given

as

the

ratio

of

output

to

input

voltage,

current,

or

power

expressed

In

decibels.

HEADROOM:

The

difference

between

the

average

operating

power

level

of

an

amplifier

circuit

and

the

point

at

which

cl

ipping

or

severe

distortion

occurs.

HERTZ

(Hz):

A

unit

of

measurement,

previously

referred

to

as

cycles

per

second

used

to

Indicate

the

frequency

of

sound

or

electrical

wave.

A

unit

of

motion

referenced

to

a

time

period

of

one

second.

The

frequency

of

a

vibration

or

oscil

lation

in

units

per

second.

IMPEDANCE:

The

total

opposition

to

alternating

current

flow

presented

by

a

circuit.

The

resistance

to

the

flow

of

alternating

current

In

an

electrical

circuit,

generally

categorized

as

either

"high"

or

"low",

but

always

expressed

in

ohms.

Commonly

used

to

rate

electrical

Input

and

output

characteristics

of

components

so

that

proper

"match"

can

be

made

when

interconnecting

two

or

more

devices,

such

as

a

microphone,

loudspeaker

or

amplifier.

JACK:

A

receptacle

on

a

receiver,

tape

recorder,

ampl

ifier

or

other

component

Into

which

a

mating

connector

can

be

plugged.

MASTER:

Main

level

or

gain

control

for

a

Bus

or

Mix.

OHM:

The

unit

of

electrical

resistance,

equal

to

the

resistance

through

with

a

current

of

one

ampere

will

flow

when

there

Is

a

potential

difference

of

one

volt

across

It.

Ohm

Is

the

unit

of

measure

used

to

express

opposition

to

current

flow.

Every

wire

or

part

through

which

electricity

passes

has

some

resistance

to

that

passage.

PARALLEL:

An

electric

circuit

in

which

the

elements

or

components

are

connected

between

two

points

with

one

of

the

two

ends

of

each

component

connected

to

each

point,

RESISTANCE:

Opposition

to

the

flow

of

electrical

current.

RIAA:

Stands

for

Recording

Industry

Association

of

America.

A

type

of

preamplifier

used

for

turntables.

It

Is

necessary

to

use

an

RIAA

preamp

when

using

a

magnetic

cartridge.

RMS:

(Root

Means

Square

Value)

The

square

root

of

the

time

average

of

the

square

of

a

quantity;

for

a

periodic

quantity

the

average

is

taken

over

one

complete

cycle.

RMS

voltage

is

.707

times

the

peak

voltage

of

a

sine

wave.

SPL:

(Sound

Pressure

Level)

The

level

or

Intensity

at

a

point

In

a

sound

field

(loudness).

The

deviation

above

and

below

normal

atmospheric

pressure.

0

dB:

In

the

measurement

of

SPL

or

Sound

Pressure

Level,

0

dB

is

referenced

to

the

threshold

of

hearing

or

auditory

perception

of

a

tone

of

1000

cycles

(hertz)

per

second

(1

KHz).

Peavey Bandit 65 User manual

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