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manual abstract
Each of the six frequencies bands may be boosted or cut 15 DB for a total 30 DB range. By varying the mix of the various filters, the response characteristics of any amplifier can be duplicated, as well as, allowing new and different combinations to be created. Each equalizer control should be regarded as a level control for Its particular frequency band. The overall loudness is a function of the setting of these controls. By using this equalization circuit with the distortion and/or fuzz effects, any desired harmonic structure can be created. With the fuzz and/or distortion in operation, you will find that ovarboostlng the high frequencies tends to emphasize the higher order harmonics and give a more harsh sound. Much smoother effects can be produced by using less top end and more middles and lows. The amp should never be operated with all the filters in the extreme cut position. Experimentation will illustrate the fantastic versatility and range of the equalizer circuit. NORMAL CHANNEL TONE CONTROLS This channel Is similar to those used on other PEAVEY amplifiers and incorporates the most advanced negative feedback tone networks designed into any contemporary amplifier. The input stage of the effects channel features extremely low noise and is capable of handling an extremely wide dynamic range. The tone circuitry features true cut and boost controls that are able to alter the tonal blend in almost any manner. It should be remembered that this type tone circuit is actually a form of electronic crossover and that the tone controls are actually volume controls for their particular frequency bands. Some very interesting effects can be created by using the tone controls as “master gain controls" for their particular frequency bands. This may be accomplished by turning normal gain up close to maximum, while setting the tone controls in the “cut” or counter-clockwise positions. Variation and experimentation will illustrate the many different sounds available from this method of operation. The treble control(10) is part of an electronic crossover circuit that enables boost in the right hand (clock-wise) positions and cut in the left hand (counterclockwise) positions. When these controls are in the center or straight up (12 o’clock) position, the bass and treble controls are flat. The action of the bass control 11) is similar to that of the treble control except that It affects the bass range of frequencies. The middle control(12) is the “cut” only type and serves to give the characteristic middle notch that is necessary for proper tonality. When the middle control is fully clockwise, no middle cut takes place and the middle is unchanged. Any rotation from the fully clockwise setting results in more middle cut. It has been found that our extremely effective middle control is able to give the "punchy" sound so popular In today’s music. By cutting the midrange slightly, we are effectively boosting the two frequency extremes at the top and bottom ends of the frequency spectrum. MASTER GAIN The maater gain control(3) is located in the. master area, and is very useful for obtaining a number of effects. The most common use of this control is for obtaining overdrive and sustain at low sound levels. Another valuable use for this control is for controlling the response and noise of the amp in a recording studio. The master gain control is the final gain determining element before the signal is fed into the output amplifier and could more accurately be called a "sensitivity” control. To obtain maximum overdrive and sustain, the individual channel volume controls should be set near maximum, and the output of the system should be adjusted with the master volume control. You will discover that many different and pleasing harmonic effects can be obtained by trying different settings of the tone, gain and master gain controls. It has been found that when operating the amp in the overdriven condition, lower settings of the high frequency controls tend to give a smoother "natural distortion characteristic”. The normal background noise (hiss, hum, etc.) can be very effectively controlled for recording studio applications by use of the master gain control. To reduce these noises, reduce the setting of the master gain control. The slope control(13) is a unique method of tailoring the low end rolloff to suit the playing conditions. By rolling off the extreme low end, added punch can be obtained with only slight sacrifice in overall tone. Many times the deep bass can be sacrificed for the penetration needed for outdoor conditions or large indoor performances. Experimentation will allow the musician to select the proper settings to suit his individual taste or playing requirements. Pilot llght(14) indicates when power is applied to the unit. The booster Jack(15) provides an output signal for driving additional booster power amplifiers. This is not a speaker output. This output is a low level signal of approximately one volt. An...
Other models in this manual:Musical Instruments - The Bass (381.61 kb)