Peavey The Bass User's Manual
Contents
1. 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 overboosting 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 ver satility 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 ad vanced 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 in teresting effects can be created by using the tone con trols as master gain controls for their particular fre quency bands This may be accomplished by turning normal gain up close to maximum while setting the tone controls in the c2. emphasis of the various harmonics of the fuzz to duplicate the sound of any fuzz effect Experimentation will be necessary to fully utilize the capability of this effect The fuzz is controllable from the remote footswitch BLEND The blend control 8 is an envelope modifier for the fuzz circuit that actually varies the attack characteristics of the clipping circuit by changing its in out impedance This control is able to give the fuzz a sharp cutting bite or a smooth mellow clipping action This blend control should be used in conjunction with the fuzz control to obtain the desired fuzz tonality and blend of fundamental vs clipped and shaped signal The biend control is located within the fuzz circuit and is cut off when the fuzz is not being used EFFECTS CHANNEL EQUALIZER CONTROLS The six channel equalizer circult 9 is a new type of electronic crossover that divides the musical in strument sound spectrum into six distinct segments with each control allowing precise control over its par ticular band of frequencies 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 com binations to be created Each equalizer control should be regarded as a level control for its particular frequen cy band The overall loudness is a function of the setting of these
3. noise of the amp in a recording studio The master gain control is the final gain deter mining element before the signal is fed into the output amplifier and could more accurately be called a sen sitivity control To obtain maximum overdrive and sus tain 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 condi tion 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 penetra tion needed for outdoor conditions or large indoor per formances Experimentation will allow the musician to select the proper settings to suit his individual taste or playing requirements Pilot light 14 indicate
4. the preamp If two instruments are used and both jacks 1 and 2 are used the circuit automatically balances the gain of the two inputs so that the sensitivity of both are identical PARALLEL INPUT By plugging your instrument into the parallel jack 2 the switching circuit automatically places the signal from your instrument into beth channels Plugg ing into this parallel jack is the same as using a patch cord to bridge normal and effects channels except that the internal switching circuitry automatically performs the patching function When plugged into the parallel jack both effects and normal gain controls are active and the desired blend of each can be found by varying the level of each relative to the other Each individual channel s tone controls set the overall tonal balance and should be adjusted according to personal taste The master gain 3 control may be used for even more contro of dynamics and overload harmonics SERIES INPUT Just as the parallel jack activates internal switching to place the instrument inputs into both channels the series Jack 4 activates another set of switching con tacts to place the normal channel output signal into the input of the effects channel By placing the preamps in series incredible sustain and overioad harmonics can be generated Experimentation with various com binations of gain control settings will yield an infinite variety of harmonic characteristics and sustain duratio
5. RAMS OF PARALLEL amp SERIES MODE SELECTOR aao a
6. The new Bass represents the latest developments of our research and development program which have evolved from seven years of laboratory and on the job experimen tation This new amp features a 200 watt RMS power circuit that uses eight 30 amp power transistors mounted on a massive aluminum heatsink for cool operation Many new circuits have been developed for this unit which represent the 51416 of the art in musical instrument amplification In order to provide complete tone control a six channel equalizer has been developed which allows in cremental control of the six separate frequency bands Proper adjustment of the equalizer will allow the bassist to tailor the response to duplicate the sound of any amp or to create his own personal sound The distor tion fuzz effect on the Bass features expanded versatility in the use of controlled distortion or density The combination of the distortion fuzz effects with the equalizer can be used to color the sound to suit any taste A master gain control is provid ed on the Bass and can be used to obtain a number of effects The most common use of this contro is to ob tain overdrive and sustain at low The Bass volume levels The master gain can also be used as a sensitivity control for regulating amp response and noise level in the studio Also included in the master sec tion is our unique Slope control The new slope control acts on both channels and provides a m
7. ethod of tailoring the low end rolloff to suit the playing conditions By rolling off the extreme low end added punch can be added to the sound with only slight sacrifice in overall tone Our exclusive Automix feature has been incorporated into the cir cuitry of the Bass This new feature along with the master volume control will allow the bassist virtually un limited sustain and overload characteristics by running the two channels in parallel or series by means of our automixing footswitch The requirements of the modern bassist are very demanding in regard to the amp and especially from the speaker system We offer the New Bass with several combinations of speakers to suit the requirements of the individual The 215 cabinet is the most popular configuration and is capable of tremendous punch in the low end due to its horn loaded port design The two fifteen inch drivers provide a rich midrange by direct radiation The 1185 folded horn uses one massive eighteen inch driver in a new single smaller more portable package which delivers ali the power and efficiency of the larger folded horn cabinets The combination of the two 118S enclosures provides truly phenominal bass response and un believable power handling for large areas For those who prefer a more punchy bass sound the dual 412 cabinets are the ideal choice because of the extended range of the twelve inch speakers The twelves tend to emphasize t
8. he middles and upper harmonics of the strings OUTPUT POWER 200 watts RMS 1 THD into 2 ohms SENSITIVITY 20 mV 1 KHZ Tone controls flat volume 12 00 INPUT IMPEDANCE 330 K ohm SIGNAL TO NOISE RATIO 66 db 50 K ohm source impedance The new Peavey Bass amplifier represents the state of the art in solid state bass guitar amplification Many recent advances in circuitry as well as our new automix feature have been incorporated into the Bass to provide you with maximum performance and long trouble free operation The versatility of the equalization circuitry and switching facilities built into the Bass are unmatched by any other brand of amplifier commercially available today The Bass is not unique in having two channels but is unique in featuring a complete switching facility which allows any combination of the two channels to be used for incredible sustain overload dynamics and harmonic control By proper use of the automix feature in conjunction with the six channel equalizer almost any bass sound can be created Both pairs of the main input jacks 1 are arranged in a unique circuit that allows a wide range of input levels to be handled by the bass Input 1 is the high gain input and should normally be used when plugging in your instrument Input 2 is the low gain input and should be used if the signal from your instrument tends to overload distort
9. is is the position that should be used The speaker output jacks 20 are designed to be used with a total load of two ohms Speaker systems of higher impedance can be used with a slight loss in out put power Speaker systems with less than a total of two ohms cannot be used without overloading the power amplifier Much LESS power will be delivered to lower impedances because of the unique limiting action of our integral protection system The power amplifier is built on a large aluminum heatsink to cool the output devices A thermostat is connected to this heatsink to shut the system down in case of overheating Low speaker impedances tend to cause the amp to run hotter than normal and could cause the automatic cutoff to operate if the output stage becomes hot enough to endanger the output devices The thermostat is self re setting and normal operation will be restored when the unit reaches safe operating temperatures If thermal shutdown is apparent then you are overloading the system and continued use in this manner will damage the system Never use less than a 2 ohm total load on the 400 module The output voltage available from this unit is approximately 20 V RMS into 2 ohms with proper line voltage The large line cord retalners 21 on the rear pan el are provided for your convenience in storing the AC line cord during transport of the unit FOOTSWITCH SELECTOR BUTTON The selector button allows the performer to obtain the output fr
10. ns The normal gain will control the clean signal while the effects gain will control the desired amount of harmonics These functions can be used in conjunction with the master gain control to avoid driving the power amplifier to full output while seeking the desired effects enabling the operator to obtain sustain and overload effects at very low volume levels such as those required in some recording studio applications Experimentation is the necessary requirement to take full advantage of this unique feature of the Bass To provide an added measure of flexibility for the professional we have designed a footswitch that is capable of remotely controlling this series switching cir cuit The channel gain controls 5 set the gain of the input preamplifiers thereby controlling the sensitivity of the amplifier and not the power of the amplifier It is entirely possible to drive the amp into full power output at very low gain control settings if the output signal from your instrument is high enough Please be aware that the gain control settings do not indicate power but only sensitivity of the preamp The circuitry of the input preamps of your Bass amp is of the latest variable negative feedback type which has proven to yield the best possible combination of input impedance dynamic range noise and distortion characteristics DISTORTION The exclusive distortion control 6 allows the Bass to duplicate the natural distortion of an
11. om the normal channel OR the effects channel The selector may be thought of as an either or type of control since it allows a choice of either normal or effects channels when the instrument is plugged into the parallel jack When the instrument is plugged into the series Jack it selects either the clean signal or the overdriven signal 11 should be noted however that the selector button is functional only when the instrument is plugged into either the series or the parallel input jack COMBINER BUTTON The combiner button defeats the selector button and allows both channels to be in the circuit at one time when in the parallel input When plugged into the series input the combiner button defeats the selector button and allows the output of the clean signal and the overdriven signal to be combined in other words some clean signal is mixed with the overdriven distorted signal for even more versatility and tonal biend The selector button becomes inoperative as soon as the combiner button is depressed DISTORTION BUTTON The distortion button remotely activates the distor tion effect The distortion control must be turned up for the distortion button to become operational FUZZ BUTTON The fuzz button remotely activates the fuzz effect REVERB BUTTON The reverb button remotely activates the reverb on both channels TREMOLO BUTTON The tremolo button remotely activates the tremolo in the effects channel FUNCTIONAL DIAG
12. overdriven tube amp at all volume levels The distortion control blends harmonics into the signal which match the har monic content of a tube being overdriven By adjusting the settings of the distortion control varying degrees of harmonic distortion can be introduced into the output Interesting effects can be obtained by using the equalizer to tailor the response of the preamp to the har monics generated by the distortion circuits Additional effects are possible when the fuzz circuit is used in con junction with distortion The two entirely different effects produced by the two circuits blend into each other to produce fantastic harmonics that can be tailored in any imaginable combination by the equalizer circuits Ex perimentation will prove the versatility of this feature This distortion may be cut off with the remote footswitch FUZZ The fuzz control 7 enables the Bass to introduce the classic fuzz type distortion into the output The fuzz effect is variable by setting the fuzz control Because of our new squelch circuitry the extremely high hiss levels usually associated with fuzz units are absent from this new and exclusive circuit We have tailored the har monic and fundamental content of this fuzz to be ad justable as well as have an extremely long sustain while our squelch circuitry almost completely eliminates the annoying tendency of some fuzz circuits to feed back uncontrollably The equalizer is able to modify the tonal
13. s 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 Any booster amplifier can be used as long as its input will accept a one volt RMS signal and has input impedance of at least 10 000 ohms The remote switch should be plugged into the DIN socket 16 located on the front panel Care should be taken to properly mate the connectors of the footswitch plug with the respective socket holes The fuse 17 is located within the cap of the fuse holder and should be replaced with one of the proper value if it should fail It is necessary that the proper value fuse be used to avoid damage to the equipment and to avoid voiding the warranty Models that have cir cuit breakers can be reset by depressing the button If the breaker trips repeatedly take the unit to a qualified service center for inspection The three wire line cord 18 has been provided for your protection and should be connected to the proper line voltage as indicated on the back panel Do not remove ground pin on plug The line power switch 19 is of the three position type with the center position being OFF The three posi tion switch has two ON positions which are used to ground the amplifier properly One of the on positions will yield the least hum or popping when the instrument is touched and th
14. ut or counter clockwise positions Variation and experimentation will illustrate the many different sounds available from this method of opera tion 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 counter clockwise 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 con trol 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 mid range slightly we are effectively boosting the two fre quency extremes at the top and bottom ends of the frequency spectrum MASTER GAIN The master 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
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