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manual abstract
Combine these features with Peavey’s long-standing reputation for reliability and you can’t go wrong! Please read this guide carefully to ensure your personal safety as well as the safety of your equipment. F FFe eea aat ttu uur rre ees ss 12AX7 preamp tube for warm tube sound 500 Watts @ 2 Ohms; 350 Watts @ 4 Ohms; 200 Watts @ 8 Ohms front and rear 1/4" input jacks -10 dB pad for active basses tuner send jack for easy tuner hookup input mute with blinking LED for silent tuning contour control for tube-type EQ curve active low and high shelving-type EQ 3-bands of versatile‚ full-parametric equalization side chain effects loop with wet/dry control foot switch capable input mute and effects loop low Z electronically balanced line out with pre/post EQ switch ground lift switch for line out both Speakon® and 1/4" speaker jacks preamp out/power amp in jacks DDT speaker protection system with defeat switch 2-rack space unit 4 5 Front Panel 2 1 5 7 9 10 25 6 12 13 8 11 14–22 full parametric EQ 14–22 full parametric EQ 3 4 1 mute switch When this switch is depressed the input is muted for silent tuning or break time! 2 mute status LED When the mute switch is enabled the red mute status LED blinks. 3 input jack This mono 1/4" input will accept signals from all types of bass pickups. This input‚ when utilized‚ overrides the rear 1/4" input jack. 4 input pad switch Provided for instruments that have extremely high output (i.e. active pickup systems)‚ which can result in overdriving (distorting) the input gain stage. Depressing the switch reduces the level of input by 10 dB. 5 hi boost switch Adds high frequency boost equalization. Notice that the high frequency boost becomes less effective with more preamp gain. 6 low cut switch Used to reduce the amount of low frequency throughout the system for smoother tube distortion sounds. 7 pre gain Controls the input gain of the tube stages. 8 post gain Controls the volume level of the tube stages. If the clip indicator lights‚ the post gain should be reduced. 9 low An active tone control (shelving type‚ +/-15 dB @ 30 Hz) that varies the low frequency boost or cut. 10 high An active tone control (shelving type‚ +/-15 dB @ 10 kHz) that varies the high frequency boost or cut. 11contour control Provides a specially voiced EQ as the knob is rotated clockwise. When the knob is fully counterclockwise (set to 0)‚ there is no voicing added. (This control is similar to the old passive tube EQs with the lows and highs up and the mid down.) 12 signal status LED (green) Illuminates when a signal is present. 13 signal clip indicator (red) This LED indicates (when lit) that the preamp and tone circuits are being clipped (distorted). Reducing the post gain until the clip LED no longer lights will alleviate this problem. 23 24 26 14 15 16 19 22 18 21 17 20 14–22 3-band parametric EQ Each band of the parametric EQ section has a control for: cut/boost; bandwidth (Q) and frequency. This is a full parametric EQ! All three bands of parametric EQ overlap‚ giving you control over the entire tonal spectrum. Each band of the parametric EQ section has a control for: cut/boost; bandwidth (Q) and frequency. This is a full parametric EQ! All three bands of parametric EQ overlap‚ giving you control over the entire tonal spectrum. 14‚ 17‚ 20 cut/boost This control behaves like any other active EQ control where CW (clockwise) rotation provides boost‚ CCW (counterclockwise) rotation provides cut and the 12 o’clock position (detent) provides no action at all (no cut or boost). 15‚ 18‚ 21 bandwidth (Q) The bandwidth controls determine how wide or narrow a range of tones will be affected by the cut/boost control. For instance‚ when the bandwidth control is fully CCW‚ the cut/boost control will affect a wide range of frequencies (wide bandwidth = low Q). When the bandwidth is fully CW‚ the cut/boost will affect a very narrow range of tones (narrow bandwidth = high Q). If the bandwidth control is somewhere between the two extremes‚ the bandwidth will likewise be somewhere between wide and narrow. As the control is rotated CW‚ the bandwidth gets narrow. As the control is rotated CCW‚ the bandwidth gets wide. A good place to start is with the bandwidth set to the 3 o’clock position. This is roughly where many “semi-parametric” EQs are set. 16‚ 19‚ 22 frequency The frequency controls determine the center point at which the cut/boost will take action. Think of the bandwidth control affecting the range of tones being acted upon and the frequency control determining the center point of those tones. Note about frequencies: The electric bass generates notes with frequencies ranging from about 30.9 Hz (low B-string on a five-string bass) to about 523.3 Hz (high C-string on a six-string bass). It may help you to think of frequencies as notes on your instrument or notes that you sing. By doing this‚ the concept of bandwidth and frequency becomes easier to understand. The bandwidth control determines the numb...