Peavey THE CENTRY User manual

Operating Guide For
GENERAL DESCRIPTION
For many years, working musicians have consistently expressed the need for a simple, economical but effective “utility”
amplifier. Our new Century" is such a utility amplifier featuring 100 watts RMS (@ 4 ohms), the latest active equalization circuitry,
and tremendous input dynamic range to enable its use with almost any instrument. This unit is an ideal bass or keyboard amplifier
and, with the inclusion of our unique “SATURATION" effect, is also a truly exceptional 100 watt guitar amplifier. This Saturation
effect produces tho warm ovorload and sustain characterists of vacuum tube amplifiers and is intended primarily for guitar;
however, many interesting and novel effects can be accomplished with bass and keyboard instruments. The Saturation effect is
further enhanced by the ability of the Century to control this effect with an optional remote footswitch
Our equalization circuit features active “shelving” type high and low equalizers and our unique "PARAMID"" equalizer for the
vital midrange frequencies. Our Paramid circuit enables true boost or cut capability in the vital midrange as well as enabling
shifting the center frequency over an extremely wide range. This unique active/parametric equalization circuit enables the
Century to duplicate almost any tonality and, when combined with the tremendous dynamic capabilities and Saturation features
of the preamp, the results are truly exceptional.
We have included an “effects loop” consisting of a transient protected preamp out/power amp in system of jacks to enable
utilization of the Century with external devices such as power amps, effects devices, etc. A post gain (master volume) has also
been included to further enhance this unique amplifier’s capabilities.
The 100 watt power amp of the Century utilizes four rugged TO-3 power devices bolted to a massive aluminum heatsink, Power
is supplied from a large transformer utilizing a grain-oriented silicon steel core feeding large silicon rectifiers in a tull bridge
configuration. The dual 5,500 microfarad filter capacitors supply well-regulated d.c. and provide tremendous instantaneous
dynamic power capability.
Overall, the new Century is the utility amplifier. It has the unique features, gain, overload dynamics, equalization and
“ruggedized”
output
to
handle almost
any
musical
instrument.
Its
conservative
100
watt
rating
does
not
actually
convey
its
true
dynamic music power capabilities. If your requirements are for a simple "no frills” professional amplifier in the 100 watt range, we
are confident that the Century will fill your needs.
—————————————————————
WARNING:
TO
PREVENT
ELECTRICAL
SHOCK
OR
FIRE
HAZARD,
DO
NOT
EXPOSE
THIS
APPLIANCE
TO
RAIN
OR
MOISTURE.
READ
ALL
INSTRUCTIONS
CAREFULLY
AND
RETAIN
THIS
GUIDE
FOR
FUTURE
REFERENCE.

FRONT PANEL
INPUTS
The
new
Century
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
jacks.
The
high
gain
jack
(A)
is
the
input
normally
used
and
has
considerably
more
sensitivity
and
input
impedance
than
the
low
gain
jack
(В)
This
low
gain
jack
has
been
included
to
allow
extension
of
the
input
dynamic
range.
If
the
output
signal
from
your
instrument
is
overloading
(distorting)
the
high
gain
input,
then
the
low
gain
input
(-6
dB)
should
be
used.
GAIN BLOCK""
The
Century
has
been
designed
utilizing
our
new
"GAIN
BLOCK"
signal
processing
front
end.
The
provision
of
three
interacting
controls
allows
complete
and
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
experimentation
time
spent
in
order
to
fully
utilize
the
potential
of
this
unique
and
innovative
new
amp.
PRE GAIN
Our
pre
gain
control
(C)
is
similar
to
conventional
volume
controls
in
that
it
is
the
first
level
setting
device
in
the
system.
Our
input
preamp
circuitry
utilizes
variable
negative
feedback
with
the
pre
gain
control
as
part
of
the
active
circuit.
Utilization
of
this
type
circuitry
enables
an
optimum
combination
of
input
dynamic
range,
inputimpedance,
and
low
noise
operation
for
any
particular
gain
setting.
Operation
should
present
no
problem
since
its
action
is
conventional
even
though
the
associated
circuitry
is
quite
different
from
older,
totally
passive
circuits.
Please
be
aware
that
this
control
exhibits
the
professionally
accepted
logarithmic
(audio)
taper
having
approximately
one-tenth
of
the
gain
achievedatthe
12:00
o'clock
position
with
the
balance
being
obtained
as
the
control
is
rotated
clockwise.
Many
manufacturers
utilize
"linear"
action
controls
that
concentrate
almost
all
of
the
gain
in
the
first
one-third
of
the
control
rotation.
While
this
“linear
operation”
is
“initially
impressive,”
it
should
be
noted
that
having
all
the
gain
“up
front”
in
the
first
one-third
turn
is
misleading
and
significantly
reduces
the
amount
of
control
latitude
available
“SATURATION™”
The
“SATURATION""
control
(D)
is
the
control
element
for
setting
the
operating
point
for
our
new
and
unique
"SATURATION"
circuitry.”
Because
the
guitar
amp
is
a
very
vital
part
of
the
sound
of
the
electric
guitar,
we
have
devoted
many
years
toward
achieving
the
proper
"sound"
and
gain/overload
dynamics
sought
by
guitarists.
Until
now,
amps
utilizing
vaccum
tubes/valves
have been
considered
by
many
players
to
be
superior
to
most
solid-state
units.
Today
Peavey
is
the
only
major
manufacturer
of
both
tube
type
and
solid-state
amps,
giving
us
a
unique
opportunity
to
study
and
analyze
the
various
characteristics
of
each
type.
Our
extensive
research
revealed
that
tubes
have
the
unique
ability
to
"gain
compress"
at
high
levels
and
this
effect
produces
a
pleasing
and
“harmonically
rich"
smooth
overload
capability.
Once
having
identified
the
various
characteristics
of
tube
amps,
we
set
out
to
develop
solid-state
circuitry
that
would
match
the
performance
of
tube
type
equipment.
Our
"SATURATION"
effect
closely
duplicates
the
gain/compression
effect
of
vacuum
tubes.
The
total
tube
sound
is
a
result
of
the
“interplay”
between
the
voltage
application
(preamp)
and
the
power
amp/speaker
interface.
The
"SATURATION"'""
circuit
operates
in
the
preamp
circuitry
and
exhibits
successively
more
gain/compression
effect
as
the
control
is
rotated
clockwise.
It
should
be
noted
that
the
SATURATION”
effect
must
be
balanced
with
proper
settings
of
all
three
controls
in
the
GAIN
BLOCK"
for
maximum
effects.
The
pre
gain
must
be
set
high
enough
for
adequate
drive
voltage
to
the
SATURATION"
circuit
while
tho
SATURATION"
control
should
be
varied
to
achieve
the
desired
sustain/overload
characteristic.
The
post
gain
sets
tho
sensitivity
of
the
power
amp
(master
volume)
and
must
be
used
in
conjunction
with
the
above
controls
for
proper
results.
It
should
be
remembered
that
the
SATURATION"
effect
takes
place
in
the
preamp
and
that
when
the pre
and
post
gain
controls
are
set
to
drive
the
power
amp
to
maximum
output,
the
SATURATION"
circuit
will
have
correspondingly
ittle
effect
on
the
total
sound
of
the
unit
as
the
natural
overload
characteristics
of
the
power
amp
come
into
play.
Experimentation
and
operating
experience
will
be
necessary
to
fully
realize
the
unique
benefits
of
this
SATURATION"
effect.
The
SATURATION"
effect
may
be
remotely
switched
out
of
the
circuit
through
use
of
the
optional
remote
switch
plugged
into
the
footswitch
jack
(E)
on
the
front
panel.
POST GAIN
The
post
gain
control
(Е)
determines
the
input
sensitivity
of
the
power
amp.
The
action
of
this
control
is
similar
to
that
of
a
“master
volume"
control
and
can
be
used
to
control
the
overload
dynamics
of
the
preamp
by
decreasing
the
sensitivity
of
the
power
amp.
The
post
gain
control
allows
maximum
gain
and
SATURATION"
effects
to
be
achieved
in
the
preamp
circuitry
while
maintaining
relatively
low
power
output
levels
necessary
in
studio
or
practice
applications.
The
operation
of
this
control
is
conventional
and
no
operational
difficulty
should
be
encountered
EQUALIZATION
The
new
Century
amp
features
the
latest
"active
type"
equalization
for
unmatched
tonal
versatility
and
function.
This
active
type
EQ
actually
yields
a
true
boost
and
cut
capability
as
well
as
enabling
the
vital
midrange
EQ
point
to
be
shifted
over
a
wide
range.
The
high
and
low
EQ
circuits
exhibit
a
shelving
characteristic
per
professional
practice,
while
the
semi-parametric
midrange
circuitry
has
a
peak/notch
response
characteristic.
Because
these
are
"active"
controls
instead
of
the
conventional
"passive"
or
“losser”
types,
the
overall
control
action
is
considerably
more
profound.
Since
so
much
range
is
available,
care
must
be
taken
not
to
overboost,
which
may
cause
you
to
run
out
of
power
(headroom),
or
to
overcut,
which
may
limit
dynamic
range.
As
with
most
reasonably
complex
Systems,
some
degree
of
understanding
combined
with
operating
experience
must
be
gained
in
order
to
achieve
the
total
potential
designed
into
the
system.
LOW EQ CONTROL
The
low
EQ
control
(G)
determines
the
low
frequency
content
of
the
signal
and
is
capable
of
a
30dB
range
yielding
15
dB
of
boost
or
15
dB
of
cut.
Because
of
the
boost/Cut
action
of
this
control,
the
vertical
(12:00
o'clock)
setting
produces
essentially
a
"flat"
response.
Rotation
clockwise
produces
increasing
amounts
of
boost,
while
counterclockwise
rotation
results
in
cut.
Because
excessive
low
end
boost
can
quickly
cause
headroom
problems
in
the
power
amp,
care
is
advised
when
boosting
lows.
Every
3
dB
increase
in
boost
requires
double
the
power
capacity.
With
15
dB
of
boost
available,
it
is
apparent
that
headroom
problems
could
easily
occur
at
high
boost
settings
and
when
playing
at
high
levels.
This
is
especially
important
when
playing
bass
through
the
Century.

PARAMID™ CONTROL
The PARAMID"* contro! (Н) is the element that determines whether the vital midrange of frequencies will be boosted
or cut. Its operation is similar to that of the low and high EQ controls in that it provides a “flat” response in the vertical
(12:00 o'clock) position with increasing boost in the clockwise and cut in the counterclockwise positions.
The vital midrange frequencies often determine much of the tonal color of any instrument. This new PARAMID'*
control
enables
total
control
of
these
frequencies
and
enables
almost
any
tonality
to
be
achieved
with
proper
adjustment,
The PARAMID™ control determines whether the mids will be boosted or cut while working in conjunction with the
frequency
shift
control
which
varies
the
frequency
of
the
mid
EQ
circuitry.
Please
keep
in
mind
that
the
PARAMID™
and
frequency shift controls work together and must be adjusted relative to each other as wall as the low and high EQ controls
to obtain maximum offect.
FREQUENCY SHIFT CONTROL
The center frequency of the PARAMID™ (midrange) EQ circuit may be shifted through a considerable range by use of
a “state variable” filter. This unique circuit enables the operating point of the PARAMID™ control to be placed precisely to
allow duplication or creation of almost any midrange tonality. Operation of the frequency shift control (1) causes thestate
variable EQ filter circuitry to sweep across the midfrequency band, enabling boost or cut at any point in the midrange
Very few instrument amplifiers have incorporated this advanced type EQ circuitry because of its more complex design and
higher construction costs. We felt that the new Century should embody the latest advances in audio equalization as
exemplified by this parametric middle circuitry and have included it for your satisfaction.
HIGH EQ CONTROL
The high EQ control (J) determines the overall balance of high frequencies in the Century's response. Its action is
similar to that of the low frequency control except for its high frequency effect. High end boost is obtained in clockwise
positions
while
cut
is
obtained
in
countercolckwise
positions.
Flat
settings
result
from
vertical
(12:00
o’clock)
settings.
NOTES ON EQUALIZATION
There is no “perfect” EQ setting that will satisfy everyone. Each instrument, speaker system, etc., has its own response
characteristics which must be considered in the final EQ settings. The type of music being played, and the levels being
required are also quite important.
For example
For playing hard rock guitar, ithas been found that moderate low boost or sometimes cut combined with middle boost
and moderate high boost produce the best results. Most amps which have earned respect for rock guitar exhibit limited
low end response, a nice fat (boosted) midrange, and a slightly boosted high end response.
Totally different settings are recommended for clean playing such as jazz, country, or gospel music. In those
instances, moderate high and low boost are generally combined with varying degrees of midrange cut.
Bass applications often show that moderate bass boost combined with midrange cut and high boost produce the best
results. Keyboard applications can vary significantly, but generally will be somewhat similar to the bass application
Again, there are no “perfect” settings, and there is certainly no magic in flat EQ settings. We have provided one of the
most versatile and effective EQ circuits available with which you can experiment in order to find your sound.
PREAMP OUT JACK
The preamp out jack (K) is the output of the preamp and is provided for patching out the preamp signal to external
devices and/or effects units.
POWER AMP IN JACK
The power amp in jack (L) is of the switching type and, in the normal (nothing plugged in) configuration, the preamp
output is internally connected to the power amp. When a plug is inserted into this power amp in jack, the internal patching
connection is broken and the power amp's input is now the plug/patch into the power amp input jack. The purpose of the
preamp out/power amp in jacks is to allow auxiliary effects units to be patched "in line” between the preamp and the power
amp.
FOOTSWITCH JACK
The footswitch jack (M) allows remote control of the SATURATION™ function. A standard (tip-sleeve) phone jack
equipped footswitch may be used to activate or cut off the SATURATION™ function.
REAR PANEL
FUSE
The fuse is located within the cap of the fuseholder (1). It is necessary that the fuse be replaced with the proper type
and value if it should fail in order to avoid damage to the equipment and to prevent voiding the warranty. If your unit
repeatedly blows fuses, it should be taken to a qualified service center for repair.
POWER SWITCH
On domestic units, the power switch (2) is of the three-position type with the center position being “OFF.” This switch
has two “ON” positions, one of which is Used to ground the amplifier properly. One of the “ON” positions will yield the
lowest amount of residual hum or “popping” when the instrument is touched and this is the position that should be used.
On export models, we utilize a simple on/off switch that does not have multiple "ON" positions since the grounding
(earthing) conditions in most countries are made positively through standard tamper-proof plug-in systems.
LINE CORD
For your safety, we have incorporated a three-wire iine (mains) cable (3) with proper grounding facilities. It is not
advisable to remove the ground pin under any circumstances. If it is necessary to use the amp in a two-pin plug system
without proper grounding facilities, suitable grounding adaptors should be used. Much less noise and greatly reduced
shock hazard exist when the unit is operated with the proper grounded receptacles.
SPEAKER OUTPUTS
The speaker output jacks (4) are of the standard %4" type. Both the output jacks are wired in parallel and either or both
may be used when connecting your speaker system. The 200H module has been optimized for a 4 ohm load but has
adequate performance to drive loads both above and below the recommended 4 ohm impedance. Extreme care should be
used when operating a unit below 4 ohms since lower load impedances tend to overload the power amplifier and may
cause premature activation of the power amp's short circuit protection system and/or thermal fault protection circuitry.
LINE (MAINS) CORD RETAINER
We have provided two large molded line cord retainers (5) on the rear panel to allow storage of the mains cable for
travel. In operation, the cable should be completely unwrapped to allow maximum heat dissipation from the rear
panel/heatsink

TONE SETTINGS
FOR THE CENTURY
Ж”
‚in
EXTENDED RANGE

[_Front& Rear Panels]
КЕЛЕКЕ
= г...

POWER AMPLIFIER SECTION: 200H Module
FREQUENCY RESPONSE:
+0, -1 dB, 30 Hz to 30 kHz, @ 100W into 4 ohms
RATED POWER & LOAD:
100W RMS into 4 ohms
POWER @ CLIPPING:
(1% THD, 1 kHz, 120 VAC line)
Typically:
80W RMS into 8 ohms
120W RMS into 4 ohms
2 ohm load not recommended
TOTAL HARMONIC DISTORTION:
Less than 0.2%, 100 mW to 100W RMS, 50 Hzto 10kHz,
4 ohms, Typically below 0.1%
INTERMODULATION DISTORTION:
Less than 0.2%, 100 mW to 100W RMS, 60 Hz & 5 kHz, 4
ohms, Typically below 0.1%
SLEW RATE:
Greater than 15V u/Sec
DAMPING FACTOR:
Greater than 50 @ 1 kHz, 4 ohms
POWER REQUIREMENTS: (DOMESTIC)
300W, 120 VAC, 50/60 Hz
PREAMP SECTION:
THE FOLLOWING SPECS ARE MEASURED @ 1 kHz
WITH THE CONTROLS PRESET AT THESE TYPICAL
SETTINGS:
SATURATION" @ 0 FREQUENCY @ 500 Hz
LOW EQ @ +6 HIGH EQ O +9
РАВАМО" @ -6 POST GAIN @ 10
NOMINAL LEVELS ARE WITH PRE GAIN @ 12:00
MINIMUM LEVELS ARE WITH PRE GAIN @ FULL
CLOCKWISE.
PREAMP INPUT CHARACTERISTICS:
HIGH GAIN INPUT JACK:
Impedance: High Z, 220K ohms
Nominal Input Level: -26 dBV, 50 mV RMS
Minimum Input Level: -46 dBV, 5 mV RMS
Maximum Input Level: +6 dBV, 2V RMS
LOW GAIN INPUT JACK:
Impedance: High Z, 44K ohms
Nominal Input Level: -20 dBV, 100 mV RMS
Minimum Input Level: -40 dBV, 10 mV RMS
Maximum Input Level: +12 dBV, 4V RMS
POWER AMP INPUT:
Impedance: High Z, 47K
Nominal Input Level: 0 dBV, 1V RMS
SIGNAL-TO-NOISE RATIO (2 NOMNAL INPUT LEVEL:
75 dB, 20 Hz to 20 kHz unweighted
EQUALIZATION:
+-15 dB @ 80 Hz & 8 kHz, Shelving
+-15 dB @ PARAMID, Peak/Notch
Mid is shiftable from 150 Hz to 1,500 Hz
PREAMP OUTPUT:
Load Impedance: 10K ohms or greater
Nominal Output: 0 dBV, 1V RMS
Maximum Output: +14 dBV, 5V RMS into 50K ohms
Due to our offorte for constant improvement, specification are subject to change without notice.
EXPOSURE TO EXTREMELY MIGH NOISE LEVELS MAY CAUSE A PERMANENT HEARING LOSS INDIV DONLS VARY CONSIDERABLY IN SUSCEPTIBILITY TO NOISE INDUCE HEARING LOSS. BUT NEARLY
EVERYONE WILL LOSE SOME HEARING IF EXPOSED TO SUFFICIENTLY INTENSE NOISE FOR A SUFFICIENT T!
SHEUS GOVERNMENTS OCCUPATIONAL SAFETY AND HEALTH ADMINIS TRAFON сони) Haa SPECIFIED TE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES
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КТП ДІ
РЕАУЕҮ ELECTRONICS CORP.
711 A Street
Meridian, MS 39301
91980 Revised 3/88