Peavey L.A. 400 User's Manual
Contents
1. LEAD GAIN INPUTS a PE m Pi put aor SATURATION POET pul Eau BLUES COUNTRY SET UP AND OPERATIONS INSTRUCTIONS MASTER 4536 3 d 2 e 1 C 70 REVERB rm EQUALIZATION a5e yig Sis s 3 zd 5 gt y s 5 2 e 2 E 3 Ay J 4 eS 9 Ao XN cw EL a THIN FAT Coster PRESENCE Law pull Pile ACTIVATE ADJUST TO TASTE mm EQUALIZATION MASTER THIN mip AT GH tow gi Mier PRESENCE eu Filo REVERB SHIFT SETTING ADJUST TO TASTE VARIABLE EQUALIZATION 34 MASTER ae og 2 8 2 af Be al 8 EA oo MD b MD cow WESS d ADJUST TO TASTE MASTER 45 5 ho 12 12 c PRESENCE REVERB eati Flor ACTIVATE ADJUST TO TASTE The procedure for arriving at optimum control settings with any particular guitar and equalization characteristics are as follows Plug into the high or low gain input jack Set the post gain control around mid point Set the pre gain control somewhere in the middle of its range Readjust the pre gain control to assure adequate drive Donun Adjust the Saturation control for the desired amount of gain compressed clipping Readjust the post gain control just below the point at which the power amp speaker reaches the clipping point and adds its own harmonics to the predistorted signal This setting is readily noticeable since the additional harmonics are audible when the power amp reaches its maximum output level and will n2. POWER AMPLIFIER SECTION RATED POWER amp LOAD 210 W RMS into 4 ohms with DDT compression POWER CLIPPING Typically 58 THD 1 KHz 120 VAC line 130 W RMS into 8 ohms 220 W RMS into 4 onms 2 ohms not recommended FREQUENCY RESPONSE 2 1 dB 20 Hz to 20 KHz 200 W RMS into 4 ohms TOTAL HARMONIC DISTORTION Less than 02 100 mW to 200 W RMS 20 Hz to 10 KHz 4 ohms typically below 0 1 DDT DYNAMIC RANGE Greater than 20 48 DDT MAXIMUM THO Below 0 5 THD for 6 dB overload Below 1 THD for 20 dB overload HUM amp NOISE Greater than 65 dB below rated power POWER CONSUMPTION Domestic 600 watts 50 80 Hz 120 VAC EXPOSURE 10 PREAMP SECTION THE FOLLOWING SPECS ARE MEASURED 1 KHz WITH THE CONTROLS PRESET AS FOLLOWS Lead Gain Pull Bright Off In Saturation 0 Post Gain 10 Normal Pre Gain 0 Normal Gain Pull Bright Off in Low amp High EQ 10 Mic EQ 0 sni 5 Pull Thick Off In Presence 0 dB Reverb 0 Nominal Levels are with Pre Gain 5 Minimum Levels are with Pre Gain 10 PREAMP JACK A INPUT impedance High Z 220K ohms Nomina input Level 23 dBY 40 my AMS Minimum Input Levet 46 ABV 5 mV RMS Maximum Input Level 4 ABV 8 V RMS PREAMP JACK B INPUT impedance High Z 44K ohms Nomina Input Level 22 JBV 30 mV RMS Minimum Input Lovet 10 dEV 10 mv RMS Maximum Input Level 16 d V 3 V RMS DANGER NERRLY EVERYONE WILL LOSE SOME HEARING IF EXPOSED TO
3. WARNING TO PREVENT ELECTRICAL SHOCK OR FIRE HAZARD 00 NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE BEFORE USING THIS APPLIANCE READ BACK COVER FOR FURTHER WARNINGS LA 400 OPERATING GUIDE The LA 400 produces 210 watts RMS system into a 4 ohm load and features many new ideas which our R amp D program has designed to enhance the warmth and smooth operating characteristics normally found only with tube amplifiers The LA 400 also features our Gain Block which consists of three controls pre gain Saturation and post gain This Gain Block allows the player total control of the overall texture of harmonic content and overload characteristics by varying the amount of drive of the pre gain and the Saturation control and finally adjusting the post gain to the desired output level The combination of the input dynamics Saturation effect and the extremely effective equalization circuit enables the LA 400 to quite literally simulate almost any guitar sound available from any amp old or new This unit also features a second normal channel that is footswitch selectable and incorporates our unique automatic switching circuitry now being copied by so many of our competitors In addition to the above we have included our Black Widow Super Structure loudspeaker 1203 4 whose characteristics have been carefully matched to complement the frequency response power output anc damping factor of the LA 400 s power amplifier Since
4. 601 483 5365 Telex 504115 1984 80370400 1 84 SOUND LEVEL lip ov OQ M EN eg p nue umor zm im ur DO NOT EXPOSE THE AGOLIANCE T0 RAN OR MOISTURE DO NOT REMOVE FROM CASE ND USER SEAYCERELE PARTS INSDE REFER SERVING TO BEAUFIED SERVICE PERSONNEL AVIS alsQue DE CHOC ELECTRIQUE OUVRIR NE pas LINE OUTPUT Frequency Compensated Load Impedance 600 ohms or greater Nominal Output 10 BY 300 mV AMS Maximum Output 10 GBV 3 V RMS into 50K ohms 3 ABM 2 V RMS into 600 ohms PREAMP OUTPUT Full Range Load Impedance 1K onms or greater Nominal Output 0 dBV 1 V RMS POWER AMP INPUT Impedance High Z 22K onms Designed Input Level 0 JBV 1 Y BMS icing preamp output to power amp input connection when rot used SYSTEM HUM amp NOISE NOMINAL INPUT LEVEL 20 Hz to 20 KHz unweighted 72 dB below rated power EQUALIZATION Special low mid and high passive type C with Mid Shift thin fat circuitry amp Pull Thick Presence 12 dB 5 KHz shelving active Pull Bright 6 dB 2 KHz AUTOMIX FEATURES Reverb function defeated with footswitch Norma channel only operational with footswitch Pull Thick and Post Gain defeated in normal channel REMELY HIGH NOISE LEVELS MAY CALSE A PERMANENT HEARING LOSS INDIVIDUALS VARY CONSIDERABLY IN SUSCEPTIBILITY TO NOISE INDUCED HEARING LOSS BUT A SLOW RESPONSE 90 x E du gem reer PRETEETORS MEE THIS ra E lan so fafgljgets aono rallies ar
5. Clockwise rotation increases the reverb effect and counterclockwise decreases the effect SERIES PRESENCE CONTROL The presence is an active high frequency EQ with cut and boost capability This control may be used similarly to a bright boost for the upper range of frequencies when additional bite is desired ciTY L A 400 AMPLIFICATION SYSTEM HIGH PULL THICK The high EQ control is similar in operation to a typical passive treble control and varies response of the high end at frequencies below the effect of the presence control The pull switch on the nigh control activates the thick mid range boosted tonality which is very popular with rock players Notice thatthe bass and mid controls have little effect when pull thick is activated 10 MID SHIFT CONTROL The vital mid frequencies are controlled by this unique concentric stacked system of potentiometers Please be aware that mid frequencies contribute to a large degree to the overall tone color of the guitar in all forms of music Although this is a new type of system for controlling the mids itshould present no problem in operation Tho inner top control determines the amount of mid frequencies Rotating this Control clockwise increases the mids for a greater degree of fat tonalities while counterclockwise rotation will Gause the overall tone color to become thin The outer bottom control allows the player to passively shift the band at which the mid frequencies will ope
6. of the footswitch PREAMP OUTPUT POWER AMP INPUT To allow in line patching of battery or AC powered effects and signal processors we have incorporated a simple out in jack on the back panel The out in jack post EQ is a 1 4 ring tip sleeve configuration where the tip portion of the jack serves as the preamp output while the ring acts asthe power amp input or return The sleeve is ground A typical patch for this out in jack would be to PRE our LNE FT SW utilize a Y cord and connect the output portion of the Y to the Input of the PWR IN OUT device The return portion of the Y is then connected to the outputo the device which will return the processed signal to the LA 400 LINE OUT Same as preamp output except the signal has been frequency compensated CAUTION TO PREVENT THE RISK OF FIFE AND SHOCK HAzAnD 10 eliminate the undesirable effect of overboosting highs or lows when patching to recording or sound reinforcement consoles LINE CORD For your safety we have incorporated 2 3 wire line mains cable on the bottom of the chassis with proper grounding facilities It is not advisable to remove the ground pin under any circumstances If it is necessary to use the amplifier without proper grounding facilities suitable grounding adapters should be Used Much less noise and greatly reduced shock hazard exists when the unit is operated with the proper grounded receptacles LA 400 SPECS
7. the LA 400 is an extremely powerful single unit amplifier we have included our patented DDT compression circuit As applied to this particular amp the DDT feature will allow the power amp to operate at optimum levels without distortion When distortion is utilized within the Gain Block however the DDT circuit allows the preamp to generate the warm tube like harmonics without the harshness created by the power amp POWER SWITCH ON OFF The AC power switch is the conventional rocker type which indicates off at the bottom and on at the top GROUND LIFT SWITCH This switch is the three position type with the center position completely removing the internal grounding capacitor from the circuit This position is normally recommended for situations where the AC power recepticle is known to contain a properly grounded third wire If properly grounded AC mains supply is not available suitable ground lift adaptor should be used The and positions are used to ground the amplifier properly when only two wire services are available One of these positions will yield the lowest amount of residual hum or popping when the instrument is touched PILOT LED The pilot LED indicates when the unit is receiving electrical supply from the mains and is operational e o MASTER REVERB CONTROL The master reverb control determines the desired amount of reverberation from the internal reverb system
8. SUFFICIENTLY INTENSE NOISE FOR A SUFFICIENT TIVE THE US GOVERNMENT S OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION OSKA HAS SPECIFIED THE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES DURATION PER DAY IN HOURS eric ISIN CXCESSI EXPOSUI YHCSEO TO tO PERS UNIT IC DPERATION THIS AM EHUER HAS BEEN DESIGNE ANOLE GEGASIONAL PEAK POWER ReCoMWENBED SNCE THISQQULD Conta ture relevance i Obey al cautions in the operating instructions and o the Bacs of ine unt A operating stuet ons sroud be tollowet Tris product should be bsec so that ts pestion does not n Imerere wih ts proper sentigion itsrould nol be paced togam a wal orplacec ma bui closure het wil ADTHISANPUIF Exposure E wer me sco CM mm WM iN THE EAR C ji OVER THE MUST BE Wi MER Puri N SYSTE JENTA ANENT HEA SSIF or qe Qut o eae eee o Jen d E a io TON Dea TED LGUBSPEAKERS Caine eed vomer svopi pr abo d S in grounaing wite lor our ee tout na Gioureing Power suni cores mold sivays be hanced cirea Penodcally neck cores or cuts arsansotsiess especly ine lcg and the pont where he cor ents he unt TPt power supp corderculbeunolunged wien the unitis SSGHED INTE THIS SYSTEM j EM PLEASE BE AWARE THAT MA pe mariedor overt used or some unas can oa ante win adamp ia ara sove heater racior or another Fem producing apie Printed in USA PEAVEY ELECTRONICS CORPORATION 711 A Street Meridian MS 39301 U S A Telephone
9. e ho d Tsui sould ve chechedby qvaec seme lesum A The power supply cord or plug nas been damaged E Anying nas falen or bees aed mto he urit E ne unt coss net operae conci Seis won shouldbe Goneby a quate se rnice leche Due to our efforts for constant improvement features and specifications are subject to change without notice
10. n the LEAD GAIN BLOCK When using Saturation tho pre gain control should be adjusted properly to adequately drive the Saturation circuitry A very low setting of the pro gain control doesn t usually produce the necessary drive for Saturation but the overall effect is determined by the input signal of the instrument patched in The gain compression effect of Saturation is increased with clockwise rotation and decreased with counterclockwise setting of the control A full counterclockwise 0 setting will result in no Saturation PRE GAIN CONTROL The pre gain control for the lead Gain Block determines the input level and functions similar to any typical channel gain control This control should be operated with sufficient gain to drive the Saturation control for the smooth compressed tube type overload Please beaware that this control exhibits an audio taper and develops approximately 1 4 gain at the 12 o clock position with the balance being obtained as the control is rotated clockwise After adjusting the post gain to its approximate mid point position the pre gain control should be set once again to your personal laste for your particular style of music This control features a pull switch for extra brightness when the knob is pulled outward slightly Saturation generally sounds better without the bright feature activated INPUTS The new LA 400 has two input jacks each having different sensitivities and a unique arrangement allo
11. ot necessarily be pleasing to the ear SPECIAL NOTE THE NORMAL CHANNEL CAN ONLY BE SELECTED WITH THE FOOTSWITCH ALSO THE NORMAL CHANNEL GAIN CONTROL IS NOT AFFECTED BY THE POST GAIN AND IS THE SINGLE DETERMINING ELEMENT FOR THE LEVEL OF THE NORMAL CHANNEL WHEN THE FOOTSWITCH IS USED TO SELECT BETWEEN THE SATURATED LEAD CHANNEL AND THE CLEAN NORMAL CHANNEL THE PULL THICK FEATURE DROPS OUT I DEFEATED IF IT HAS BEEN SELECTED AS MENTIONED THE POST CONTROL DOES NOT AFFECT THE NORMAL CHANNEL HIS SWITCHING ARRANGEMENT ALLOWS THE PLAYER TO PRESET THE BALANCE BETWEEN THE PRE GAIN SATURATION AND POST GAIN OF THE LEAD GAIN BLOCK FOR ANY D SIRED OVERLOAD AND LEVEL AND SWITCH BACK TO THE NORMAL CHANNEL FOR A TOTALLY CLEAN SOUND WITHOUT INTERFERENCE OF THOSE TWO CONDITIONS REAR PANEL REMOTE SWITCH JACK The remote switch jack is of the two circuit stereo type featuring ring tip sleeve construction One circuit of this jack controls Automix channel switching function enabling selection of either the lead or normal channel while the other controls the reverberation signal Remote switching is accomplished through the use of the supplied Automix footswitch which is conventional in function and should present no operational difficulty Please note when plugging in the Automix footswitch to besure and insert the plug all the way second click into the jack Failure to insert the piug all the way will not allow full function
12. rate After experimenting with these controls the player will be able to determine where and how much of the mid range lonelities best suit his her playing style and technique C 3 E ec PRESENCE LOW FREQUENCY CONTROL The low frequency control adjusts the tonality for the amount of smoothness and offers extended bandwidth on the low end of the tonal range Care should be taken to not overboost with this control to avoid muddiness and premature overdriving of the power amp Extreme overboosting of bass frequencies tends to distract from the projection capability of the amplifier and confuses material which should be heard for lead guitar lines NORMAL GAIN CONTROL PULL BRIGHT The normal gain control determines the overall level of the normal channel This channel is accessible only with the remote footswitch and utilizes the EQ circuit above The normal channel gain is unaffected by the post master gain and works independently tor a clean sound when no distortion is desired When the normal channel is selected the pull thick feature is defeated and EQ controls function normally Notice also that Saturation is not functional with the normal channel The normal channel gain also includes a pull bright feature for additional bile oredge on the high frequencies when the control knob is pulled r EQUALIZATION GAIN BLOCK SECTION The LA 400 has been designed utilizing our new Gain Block signal processing front end The provi
13. sion of the three interacting controls listed below allows 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 must be spent in order to fully utilize the potential of this unique and innovative Gain Block circuitry POST GAIN CONTROL The post gain control regulates the overall gain sensitivity and system noise of the LEAD GAIN BLOCK and is conventional in operation The post control may be used exactly like any other master gain control Settings of 5 or less will reduce lead gain block levels and simultaneously reduce noise levels generally required for smaller club performances and studio applications Settings of 6 and above will allow maximum power output reserve from the LA 400 s 210 watt RMS power amplifier section while the automatic DDT feature will prevent power amplifier clipping thereby reducing the possibility of loudspeaker damage and the associated harsh distortion sounds usually associated with power amplifier breakup NOTE The normal channel gain control is not affected by the post gain control when the normal channel is footswitch selected SATURATION CONTROL The Saturation control is a function of the preamp circuitry and very closely simulates warm tube type harmonic overload This control creates preamp overload and works in conjunction with the pre and post gain controls i
14. wing the gain of both jacks to be equalized when instruments are plugged into both inputs The high gain jack 1 is the input normally used for most instruments and has considerably more sensitivity than the low gain Jack 2 The low gain jack is 6 dB less sensitive than the high gain input and should be used when the signal from your instrument is very hot and premature overloading of the input is detected Many times the 2 or low gain input should be used when extremely hot signals are available from other preamps such as effects devices etc NORM GAIN PRE Pu BRIGHT d 8 s m LEAD GAIN 4 ase 436 ase eu PS S SATURATION POST 4 2 3 sa 9 1 pP 7 82l s a 2 The tone settings given are general and will vary according to type of guitar type and gauges of strings type of pickup and type o pick NORM GAIN r LEAD GAIN 4 aS PN as 3 7a 7 3 d 82 a2 a 1 9 4 9 4 o cO oo oO ao INPUTS oa PRE PSfionr SATURATION pull Eia post JAZZ ROCK LEAD GAIN NORM GAIN 4535 S aE 7 3 7 3 7 2 2 2 sa a 1 9 a a 1 a o ow o Ma co PER SATURATION 218 INPUTS POST uct Bier SOFT SATURATION COUNTRY ROCK LEAD GAIN NORM GAIN adm DANS a Sp a 5E 3 7 8 7 3 2 22 s2 1 9 o 9 1 OUO OUT CTNS o PRE post INPUTS SATURATION pul Sicnr MAXIMUM SATURATION RHYTHM amp BLUES NORM GAIN 436 456 age 45s 7 3 7 3 7 2 ee sa e 1 9 9 1 s DUO o 10 10 10 E
Download Pdf Manuals
Related Search