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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).
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