Peavey Mark III Bass Bedienungsanleitung

Inhaltsverzeichnis

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MARKIISERES

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OPERATING

GUIDE

GENERAL

DESCRIPTION

The

Peavey

Mark

III

Bass

amp

is

the

result

of

many

years

of

field

experience,

combined

with

the

latest

electronic

circuitry

to

produce

what

we

believe

is

the

finest

bass

amp

on

the

market

today.

The

new

Bass

utilizes

newly

engineered

circuitry

from

input

to

output,

greatly

increased

dynamic

range.

equalization

(passive

and

active),

coupled

with

a

six-band

graphic

equalizer,

pre

and

post

gain

controls,

built-in

variable

electronic

crossover,

“DDT”

compression

circuitry.

AUTOMIX,

and

complete

patch

panel

capability.

Our

engineers

have

"brought

it

all

together”

in

this

one

compact

and

powerful

unit

that

represents

the

ultimate

in

contemporary

electronic

design

and

packaging

in

musical

instrument

amplifiers.

The

new

Bass

is

powered

by

our

totally

new

400B

power

module

which

utilizes

eight

high

voltage

ultra-fast

output

devices

bolted

to

a

massive

aluminum

heatsink.

The

400B

module

incorporates

Peavey’s

unique

"DDT”

(Distortion

Detection

Technique)

compression

circuit

that

senses

the

onset

of

clipping

and

electronically

compresses

the

signal

to

avoid

overload

of

the

power

amplifier,

thus

producing

the

tightest

and

cleanest

mono

bass

sound

possible

while

minimizing

the

danger

of

speaker

blowout

at

high

output

levels.

This

unique

compressor

has

specially

computed

attack

and

releasetimes

tailored

to

retain

the

dynamics

of

stringed

instruments.

An

entirely

new

series

of

color-coded

knobs

have

been

designed

for

this

and

other

Mark

{Ii

amplifiers

that

not

only

provide

easy

function

identification

by

color,

but

also

feature

greatly

improved

visibility

and

“touch

indexing”

capability.

To

provide

even

greater

flexibility,

Peavey

has

designed

one

channel

with

active

EQ

and

parametric

middle,

while

the

other

channel

uses

the

latest

in

passive

equalization.

Our

built-in

variable

electronic

crossover

is

unique

in

its

capability

to

electronically

set

the

crossover

at

any

point

between

50

and

500

Hz,

thus

allowing

bi-amplification

of

the

bass

system

when

utilized

with

an

external

power

amplifier

/speaker

combination.

It

is

generally

recognized

that

bi-amping

a

bass

produces

the

loudest

and

most

satisfactory

results

obtainable

with

this

instrument.

The

comprehensive

patch

panel

featuring

both

input

and

output

connectors

enables

the

Bass

to

be

used

with

almost

any

accessory.

even

those

requiring

600-Ohm

impedances.

The

six-band

graphic

equalizer

is

switch

programmable

into

either

or

both

channels

which

are,

in

turn,

controlled

by

our

AUTOMIX

remote

footswitch.

AUTOMIX

enables

the

user

to

select

either

or

both

channels

and

LED's

indicate

which

channeis

are

active

in

the

AUTOMIX

mode.

Our

unique

pre

and

post

gain

controls

make

possible

total

control

of

level

and

overall

dynamics

from

each

channel,

making

the

AUTOMIX

feature

even

more

versatile.

Overall,

the

Mark

III

Bass

is

one

of

the

most

electronically

sophisticated

instrument

amplifiers

ever

made

and,

in

total,

represents

a

quantam

jump

in

instrument

amplifier

technology.

WARNING:

To

prevent

electrical

shock

or

fire

hazard,

do

not

expose

this

appliance

to

rain

or

moisture.

BASS

BLOCK

DIAGRAM

CROSSOVER

gurrer

AMP

INPUT

PREAMP

HI

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ave

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cis

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NETWORK

ee

PRE

GAIN

post

Gain.

!N

OUT

AMP

LINE

AMP

2

LINE

P

AUTOMIX

COMPENSATION

AUTOMIX

CIRCUITRY

REMOTE

p

PREAMP

SWITCH

EQ

S

BUFFER

OUT

AMP

POWER

AMP

IN

POWER

AMP

IN

OUT

SPKR

INPUT

PREAMP

D

OUTPUT

CH.

B

EQ

IN

Pe

ere

be

ae

O

O

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=

we

COMPRESSION

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PRE

GAIN

cs

u

POST

GAIN

OUT

COMPRESSION

A

LED

FRONT

PANEL

INPUT

JACKS

1

AND

2

The

Bass

features

both

a

high

gain

(1)

and

a

low

gain

(2)

(-6

dB)

input

to

enable

it

to

accept

signals

of

varying

levels

and

also

to

facilitate

using

two

instruments

into

either

channel.

The

high

gain

(1)

input

is

the

one

normally

used.

If

the

output

signal

from

your

instrument

or

its

associated

electronics

is

overloading

the

high

gain

(1)

input,

then

the

low

gain

(2)

input

should

be

used.

Because

of

the

unique

switching

Circuitry,

1

and

2

inputs

automatically

are

gain

balanced

when

two

instruments

are

inserted

into

both

inputs

The

Bass

AUTOMIX

function

has

been

recently

redesigned

around

the

latest

in

analog

switching

circuitry

and

includes

LED

activity

indicators

to

indicate

the

channels

in

use.

(PLEASE

NOTE:

CHANNEL

LED'S

ARE

INACTIVE

UNTIL

AN

INSTRUMENT

IS

PLUGGED

INFO

THE

AUTOMIX

JACK.)

NOTE!

THE

AUTOMIX

JACK

IS

A

SPECIAL

SWITCHING

JACK

THAT

HAS

A

DOUBLE

DETENT;

I.E.,

TWO

POSITIONS.

TO

ACHIEVE

PROPER

OPERATION,

THE

INPUT

PLUG

MUST

BE

INSERTED

ALL

THE

WAY,

OR,

TO

THE

SECOND

CLICK.

PROPER

INSERTION

OF

THE

INSTRUMENT'S

INPUT

PLUG

WILL

BE

INDICATED

BY

ILLUMINATION

OF

EITHER

OR

BOTH

AUTOMIX

LED

ACTIVE

CHANNEL

INDICATORS.

AUTOMIX

JACK

(3)

The

AUTOMIX

circuitry

was

pioneered

by

Peavey

several

years

ago

in

order

to

enable

the

use

of

both

channels

of

the

amplifier.

It

used

to

be

common

to

play

through

one

channel

only

while

the

other

channel

was

not

used.

Our

AUTOMIX

circuitry

enables

the

player

to

utilize

the

full

capability

of

this

amplifier

by

allowing

either

or

both

channels

to

be

used

during

a

performance.

The

switching

function

is

controlled

by

the

remote

footswitch

which

is

supplied

as

standard

equipment

with

the

amplifier.

The

AUTOMIX

effect

is

activated

when

your

input

plug

is

fully

inserted

into

the

AUTOMIX

jack

and

is

accompanied

by

illumination

of

one

or

both

LED's.

Our

improved

circuitry

has

provided

post

gain

controls

for

both

channels,

which

are

actually

master

volume

controls

for the

respective

channels.

enabling

sensitivity

and

dynamics

to

be

independently

adjusted

in

each

channel

with

the

selection

of

either

or

both

channels

accomplished

by

the

AUTOMIX

circuitry

and

its

remote

footswitch.

The

remote

footswitch

features

a

“Selector”

button,

which

enables

alternate

selection

of

either

Channel

A

or

Channel

B.

The

“Combiner”

button

operates

to

mix

the

two

channels

together

and

defeats

the

“Selector”

button.

Obviously,

when

the

"Combiner"

button

is

activated.

both

channels

are

in

the

circuit

as

indicated

by

their

LED

indicators.

When

in

the

combined

mode,

the

"Selector"

button

Is

inoperative

since

the

combined

mode

must

functionally

override

the

select

mode

to

operate

both

channels

simultaneously.

To

reactivate

the

select

mode.

depress

the

“Combiner”

button

once.

PRE

GAIN

(4)

The

pre

gain

controls

determine

the

amount

of

gain

produced

in

the

input

preamp.

Please

understand

that

this

control

determines

the

sensitivity

and

not

the

power

output

of

the

amplifier.

The

control

settings

in

no

way

can

be

related

to

the

power

the

amp

Is

delivering

to

the

speakers

because

of

a

number

of

other

factors

such

as

the

input

signal

amplitude,

setting

of

the

post

gain

controls,

etc.

EQUALIZATION

The

equalization

circuitry

of

the

Bass

is

extremely

versatile,

as

well

as

reasonably

simple

to

operate.

Channel

B

features

the

latest

active

circuitry.

while

Channel

A

is

designed

around

somewhat

conventional

passive

Circuitry.

Because

we

have

included

parametric

middle

equalization.

some

knowledge

and

operating

experience

is

necessary

to

obtain

maximum

benefit

from

this

versatile

feature.

CHANNEL

A

EQUALIZATION

LOW

EQUALIZATION

CONTROL

(5)

The

low

equalization

control

determines

the

low

frequency

emphasis

and

is

capable

of

substantially

more

effect

than

many

of

the

more

conventional

passive

tonal

networks.

For

this

reason,

the

contro!

will

tend

to

make

the

amp

sound

"bassy”

at

high

settings.

We

have

designed

the

circuitry

to

provide

more

tonal

variation

to

allow

you

a

greater

range

of

variable

tonalities.

MIDDLE

EQUALIZATION

CONTROL

(6)

The

middle

equalization

control

is

used

to

tailor

the

relative

levels

of

the

vital

mid

range

frequencies.

Experimentation

with

this

middle

control

will

show

that

it

is

very

effective

and

enables

the

“voicing”

of

Channel

A

to

be

changed

significantly

because

of

its

advanced

circuit

desiqn.

FRONT

PANEL

DIAGRAM

Qe

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D

Da

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e

HIGH

EQUALIZATION

CONTROL

(7)

The

high

equalization

comro!

sets

the

amount

of

high

end

boost

available

and

its

effect

is

dramatic.

Overboosting

of

the

highs

Is

generally

not

desirable

since

it

tends

to

cause

a

strident

sound,

as

well

as

tending

to

emphasize

residual

preamp

noise.

Our

equalization

circuit

is

very

effective

and

experimentation

will

allow

the

user

to

achieve

almost

any

tonal

coloring

desired.

CHANNEL

B

EQUALIZATION

LOW

ACTIVE

EQUALIZATION

CONTROL

(8)

The

low

equalization

contro!

is

of

the

active

shelving

type

capable

of

producing

either

a

boost

or

a

cut

of

the

low

frequencies.

Vertical

(straight

up

or

12:00

o'clock)

settings

produce

a

flat

response.

while

counter-clockwise

settings

produce

a

cut,

and

clockwise

settings

produce

a

boost.

It

should

be

noted

that

because

this

circuit

is

active.

significant

amounts

of

boost

are

available.

One

should

avoid

overboosting

the

lows

since

this

will

tend

to

require

excessive

amounts

of

power

trom

the

amplifier

and

might

tend

to

cause

excessive

compression

or

overdrive

the

power

amp

if

compression

is

switched

out

at

high

boost

(clockwise)

settings.

"PARAMID”

MIDDLE

EQUALIZATION

Our

PARAMID

equalizer

is

capable

of

two

distinct

equalization

functions:

(1)

it

features

the

ability

to

vary

the

center

frequency

of

its

action

over

a

considerable

range:

(2)

A

second

control

determines

whether

the

selected

frequencies

are

cither

boosted

or

cut

and

by

how

much.

PARAMID

CONTROL

(9):

The

PARAMID

control

operates

very

similar

to

the

low

and

high

equalization

controls

since

in

the

vertical

(straight

up

or

12:00

o'clock)

position,

no

effect

is

produced,

while

counter-clockwise

settings

produce

a

cutting

effect

or

notch

and

clockwise

se‘tirgs

produce

a

boosting

effect

or

peak.

Care

should

be

taken

not

to

overboost

since

this

effectively

increases

the

gain

at

the

selected

frequencies

and

could

overdrive

the

power

amp

and/or

speaker.

as

well

as

increase

the

residual

noise.

SHIFT

CONTROL

(10):

This

control

determines

the

center

frequency

of

the

peak

or

notch.

HIGH

ACTIVE

EQUALIZATION

CONTROL

(11)

The

Channel

B

high

equalization

control

is

of

the

active

shelving

type,

capable

of

producing

either

a

boost

or

cut

of

the

high

frequencies.

Its

operation

is

similar

to

the

low

and

PARAMID

controls

in

that

a

vertical

(straight

up

or

12:00

o'clock)

position

produces

a

flat

response.

while

counter-clockwise

positions

yield

cut

and

clockwise

settings

yield

boost.

It’s

a

good

Idea

to

avoid

extreme

boosting

of

high

frequencies

since

this

tends

to

make

the

amp

sound

strident

and

unduly

emphasize

string

noises,

etc.

POST

GAIN

CONTROLS

(12)

The

post

gain

controls

are

the

“master

gain”

controls

for

the

respective

channels.

The

action

of

these

controls

is

conventional

and

experimentation

will

illustrate

their

function.

Please

be

aware

that

extremcly

low

settings

of

the

post

gain

controls

will

require

extremely

high

settings

of

the

pre

gain

controls

with

subsequent

loss

of

dynamic

range

in

the

input

preamp.

This

may

be

desirable

in

some

situations

to

create

distortion

effects

in

the

input

circuitry.

However,

with

bass

instruments,

it’s

generally

desirable

to

maximize

dynamic

range

inthe

input

preamp

because

of

the

strong

output

signals

generated

by

most

bass

instruments.

This

is

very

important

for

maximum

compression

capability

without

distortion.

Therefore.

we

recommend

post

gain

settings

of

"7"

or

higher

for

normal

use.

CROSSOVER

(13)

The

built-in

electronic

crossover

is

designed

tc

allow

bi-amping

and

has

the

capability

to

allow

setting

the

crossover

frequency

at

any

point

between

50

and

500

Hz.

The

reason

we

have

included

a

variable

crossover

is

to

allow

matching

of

various

types

of

speaker

enclosures

together:

i.e.

one

18"

ina

folded

horn

and

two

12"

direct

radiators

would

need

to

be

crossed

over

differently

than

one

15”

folded

horn

and

two

10”

direct

radiator

speakers.

Our

frequency

variable

system

allows

total

flexibility.

The

outputs

cf

the

crossover

located

on

the

patch

panel

are

600

Ohms

output

impedance

and

are

capable

of

greater

than

2

Volts

RMS

output.

The

built-in

power

amplifier

of

the

Bass

which

normally

is

internally

connected

full

range

may

be

patched

(using

a

short

shielded

cord)

into

either

the

low

or

the

high

output

of

the

crossover

network.

thus

using

the

internal

power

amp

as

one-half

of

the

bi-amp

drive

system.

The

output

cf

both

channels

plus

the

graphic

equalizer

(when

switched

in)

feeds

into

the

electronic

crossover

in

order

to

be

sure

that

all

systems

are

operative

in

the

bi-amp

mode.

Experimentaton

with

the

actual

amp/speaker

combinations

will

illustrate

the

best

setting

of

the

crossover

frequency

control.

One

shauld

remember

that

the

internal

compressor

will

operate

only

on

the

internal

amplifier

in

the

bi-amp

mode.

The

electronic

crossover

can

be

used

as

a

low

cut

filter

when

conditions

require

strong

penetration

without

overload.

This

is

often

desirable

at

outside

concerts.

Remova!

of

the

extreme

low

end

response

maximizes

headroom

and

makes

the

Bass

amp

sound

louder.

Simply

patch

the

internal

power

amp

to

the

Bi-Amp

High

Out

and

adjust

the

frecuency

to

ihe

desired

rolloff

point.

GRAPHIC

EQ

ASSIGN

SWITCH

(14)

The

graphic

EQ

assign

switch

on

each

channel

allows

“pre-programming”

either

or

both

channels

to

either

go

through

or

to

bypass

the

graphic

equalizer.

This

switching

assign

capability

allows

the

operator

to

run

one

channel

through

the

graphic

while

bypassing

the

other

or

to

run

both

channels

into

or

around

the

graphic.

This

assign

capability

takes

on

even

greater

importance

when

ublizing

the

AUTOMIX

function

since

a

tremendous

range

of

variation

can

be

obtained

between

the

channels

when

one

channel

is

bypassing

the

graphic

while

the

other

is

fed

into

it.

"DDT"

COMPRESSION

LED

AND

SWITCH

(15)

(16)

The

Bass

is

a

compact

and

powerful

amplifier

that

features

a

210-Watt

RMS

power

amplifier

with

a

full

complement

of

equalization

controls

and

a

new

type

of

dynamic

compression.

The

compression

effect

enables

us

to

maximize

the

performance

of

the

amp

‘speaker

Combination.

We

have

determined

through

much

research

that

the

compression

circuitry

should

prevent

the

power

amp/speaker

combination

trom

running

out

of

headroom

(clipping)

and

should

be

as

simple

to

operate

as

possible

to

avoid

undue

complication

for

the

user.

Our

compression

circuit

is

very

effective

and

is

controlled

by

a

simple

on/off

switch

(16).

Because

of

the

dynamics

and

the

percussive

nature

of

plucked

strings.

it

is

quite

common

to

activate

the

compression,

as

indicated

by

the

limit

LED

(light

emitting

diode}

(15)

at

reasonably

low

output

levels.

One

should

not

be

concerned

that

the

limit

LED

indicated

compression

virtually

constantly

during

a

performance

since

this

is

what

it

was

designed

to

do:

ie..

to

maximize

the

dynamics

available

from

the

amp

within

its

power

output

capabilities.

The

compression

effect

may

be

switched

off

by

the

toggle

switch

on

the

front

panel.

We

have

not

included

other

compression

controls

since

we

have

designed

an

exclusive

“Distortion

Detection

Technique’

circuit

that

senses

conditions

that

might

cause

overload.

and

compression

is

activated

only

when

clipping

is

imminent.

This

technique

effectively

utilizes

every

precious

Watt

available

from

the

power

amplifier.

GRAPHIC

EQUALIZER

(17)

The

Bass

features

a

very

effective

six-band

active

EQ

circuit.

Each

band

has

been

carefully

selected

for

the

proper

frequency

points,

combining

characteristics.

and

precise

bandwidth

(“Q”)

to

most

effectively

handle

the

spectrum

covered

by

bass

instruments.

This

sophisticated

equalization

system

has

been

created

using

the

latest

computer-aided

design

techniques

and

has

resulted

ina

Circuit

that

is

not

only

exceptional

in

performance,

but

provides

remarkable

consistency

across

its

frequency

range.

This

equalizer

is

capable

of

a

30

dB

range:

ie..

15

dB

boost

or

15

dB

cut

in

each

of

the

six

bands.

Each

channel

ot

the

Bass

has

an

assign

switch

(14)

that

allows

the

signal

from

the

respective

preamps

to

be

sent

either

directly

to

the

power

amplifier

or

through

the

graphic.

When

this

assign

switch

is

in

the

“up”

or

“in”

position.

its

signal

Is

routed

through

the

graphic:

and

when

it's

in

the

“down”

or

“out”

position.

that

channel's

signal

is

routed

directly

to

the

power

amp.

The

action

of

a

graphic

equalizer

is

generally

well

understood

but

several

precautions

should

be

taken

to

avoid

overboosting

the

frequency

extremes

and

thus

creating

difficulties.

The

graphic

equalizer

follows

the

channel

equalization

which

is

substantial

by

itself

and

when

combined

with

the

boost

capability

of

the

graphic,

the

range

becomes

tremendous.

When

running

the

individual

channel

low,

mid

or

high

boost

near

full

clockwise

positions.

one

should

generally

avoid

overboosting

that

particular

range

again

in

the

graphic.

This

“double

EQ”

Capability

enables

a

fantastic

amount

of

cut

ot

boost

but

must

be

used

wisely

to

avoid

creating

a

“boomy”

or

“muffled”

sound

when

too

much

low

end

is

boosted.

as

well

as

creating

“strident”.

“screechy”

or

noisy

operation

when

too

much

high

end

is

boosted.

One

should

also

be

aware

that

the

“double

equalization”

available

in

the

Bass

also

may

cause

problems

in

the

extreme

Cut

positions

since

Cutting

the

EQ

is

the

equivalent

of

reducing

the

gain

for

the

affected

frequency

range.

Experimentation

will

quickly

illustrate

the

effectiveness

of

these

equalization

controls

and

generally.

no

difficulty

whatsoever

should

be

encountered.

PATCH

PANEL

A

full

patch

panel

has

been

included

to

enable

patching

effects

devices

“in

line”

and

also

to

provide

a

frequency

compensated

low

impedance

output

to

drive

recording

or

P.A.

consoles

directly

without

need

of

a

“direct

box”

or

other

amp/mixer

interface

device.

PREAMP

OUT

(18)/POWER

AMP

IN

(19)

10

allow

“in

line”

patching

of

the

various

accessories.

we

have

included

a

system

of

preamp

out/power

amp

in

jacks

on

the

front

panel.

The

preamp

out

is

the

straight

preamp

signal

which

is

the

sum

of

the

outputs

of

the

two

channels.

The

output

level

iS

approximately

2

Volts

RMS

and

is

a

relatively

low

(600

Ohms)

output

impedance.

The

preamp

out

signal

is

connected

through

a

switching

contact

to

the

power

amp

input

jack

and

normally

the

preamp

out

is

internally

connected

to

the

power

amp's

input.

This

circuit

allows

basically

two

modes

of

operation.

When

signal

is

taken

from

the

preamp

output.

signal

is

also

delivered

to

the

internal

power

amplifier.

If

access

to

the

internal

power

amplifier

is

needed

or

if

some

accessory

device

such

as

a

noise

gate.

delay

line.

effects

device,

etc..

Is

tobe

patched

“in

line”,

then

the

preamp

output

signal

must

be

connected

to

the

auxiliary

unit's

input,

while

the

auxiliary

unit's

output

must

be

connected

to

the

power

amp

input

with

shielded

cables.

thereby

placing

the

auxiliary

unit

in

series

or

"in

line”

with

the

normal

signal

path.

Additional

booster

amp

/speaker

combinations

should

be

patched

using

the

preamp

output.

With

this

unique

patching

facility,

many

interesting

effects

can

be

accomplished.

LINE

OUT

(20)

Many

attempts

have

been

made

over

the

years

to

patch

the

preamp

circultry

of

musical

instrument

amptifiers

directly

into

recording

or

sound

reinforcement

mixing

consoles

Most

of

these

attempts

have

been

unsuccessful

and

have

resulted

in

players

and

soundmen

having

to

utilize

various

forms

of

what

is

popularly

referred

to

as

a

“direct

box"

which,

of

course,

means

further

complication,

expense,

etc.

Most

previous

attempts

at

patching

signals

out

of

musical

instrument

amplifiers

have

ignored

a

very

basic

fact...generally

poor

frequency

response

from

the

musical

instrument

amplifiers

speaker

system.

Most

amp

manufacturers

have

compensated

for

the

speaker's

poor

top

end

frequency

response

by

building

in

some

degree

of

high

frequency

boost

in

order

to

satisfy

the

player.

While

this

built-in

high

frequency

boost

is

indeed

good

for

increasing

the

response

from

the

system.

it

tends

to

cause

excessive

residual

noise.

as

well

as

“strident”

or

“screechy”

tonality

in

the

direct

preamp

output

signal.

Our

line

output

has

a

built-in

compensation

circuit

that

very

closely

matches

the

rolloff

characteristic

of

a

speaker

system

in

order

to

produce

an

output

signal

that

corresponds

very

closely

to

what's

being

heard

from

the

speaker

system.

There

is

also

a

rolloff

of

the

extreme

low

frequencies

to

avoid

overload

of

the

associated

console

by

the

“sub”

bass

signals.

This

very

inportant

feature

should

prove

very

helpful

in

eliminating

the

need

for

direct

boxes

and

micing

of

musical

instrument

amplifiers.

The

signals

from

the

line

output

jacks

are

low

impedance

(600

Ohms)

unbalanced

at

a

signal

level

of

2

Volts

RMS

BI-AMP

LOW

OUT

(21)

The

Bi-Amp

Low

Out

is

the

output

of

the

crossover

network

passing

the

low

frequency

signals

from

the

selected

crossover

point

down.

Frequencies

above

this

point

are

attenuated

12

dB

per

octave.

The

output

level

is

greater

that

2

Volts

at

600

Ohms

impedance.

BI-AMP

HIGH

OUT

(22)

The

Bi-Amp

High

Out

is

the

output

of

the

crossover

network

passing

the

high

frequency

signals

from

the

selected

crossover

point

up.

Frequencies

below

this

point

are

attenuated

12

dB

per

octave.

The

output

level

is

greater

than

2

Volts

at

600

Ohms

impedance.

BI-AMPING

The

purpose

of

bi-amping

is

to

eliminate

various

kinds

of

distortion

by

maximizing

the

system's

overall

dynamic

range

by

utilizing

separate

independent

power

amps

to

amplify

the

low

and

the

high

frequencies.

In

systems

where

the

various

components

are

known

such

as

particular

speakers

in

particular

enclosures,

it

has

been

common

practice

to

preset

the

crossover

point

in

order

to

achieve

optimum

balance.

In

musical

instrument

amplifiers

that

are

used

with

a

wide

variety

of

different

speaker

systems

operated

in

different

sized

areas,

we

felt

it

was

necessary

to

incorporate

a

variable

electronic

crossover

to

facilitate

matching

different

amp

/speaker

combinations

together

into

a

compatible

system.

Typically.

the

internal

amplifier

is

used

as

one

channel

of

the

bi-amp,

while

another

external

amplifier

is

used

as

the

other.

As

a

general

rule.

the

most

powerful

of

the

two

amps

required

should

be

used

for

the

low

frequency

since

this

end

of

the

spectrum

generally

demands

more

power

output

than

the

high

end

of

the

spectrum:

Le..

if

you

have

an

external

400-Watt

power

amplifier.

you

should

use

the

internal

200-Watt

power

amplifier

as

the

high

end

of

the

system

by

utilizing

a

small

patch

cord

and

patching

from

high

out

to

power

amp

in.

The

low

out

should

then

be

patched

to

the

input

of

the

external

400-Watt

power

amplifier.

with

the

speaker

for

the

high

end

being

patched

into

the

out

jacks

of

the

internal

power

amplifier

and

the

low

frequency

speakers

patched

into

the

external

amp’s

outputs.

The

external

amp

should

be

gain

matched

using

its

level

control

to

set

a

proper

balance”

of

highs

and

lows

to

compensate

for

different

speaker

efficiencies

and

power

amp

sensitivities.

The

proper

crossover

frequency

point

should

then

be

determined

by

experimentation,

using

various

crossover

frequency

settings

after

the

desired

channel

gain

and

equalization

has

been

set

in

the

preamp.

Obviously,

if

an

external

power

amplifier

with

less

than

200

Watts

is

used,

it

should

be

used

for

the

high

end.

CAUTION

IT

IS

GENERALLY

NOT

ADVISABLE

TO

USE

HIGH

FREQUENCY

HORN/DRIVER

COMBINATIONS

SUCH

AS

USED

IN

SOUND

REINFORCEMENT

SYSTEMS

AS

THE

TOP

END

OF

ABASS

GUITAR

SYSTEM.

THE

UPPER

HARMONICS

OF

BASS

INSTRUMENTS

ARE

BETTER

HANDLED

BY

CONE

TYPE

RADIATORS

WHICH

WILL

SOUND

SMOOTHER

AND

WILL

HANDLE

MORE

POWER

THAN

HORN/DRIVER

COMBINATIONS.

PILOT

LED

(23)

The

pilot

LED

indicates

when

the

electrical

supply

is

switched

on

and

ıs

actually

delivering

power

to

the

amplifier.

AUTOMIX

REMOTE

SWITCH

SOCKET

(24)

The

remote

switch

socket

is

the

standard

"DIN"

type

and

serves

as

the

amp

connection

for

tne

supplied

remote

footswitch.

Please

note

that

the

"DIN”

plug

has

an

indentation

that

must

be

matched

with

the

matching

indentation

in

the

footswitch

receptacle

on

the

front

panel.

This

keying

action

allows

the

footswitch

to

be

connected

only

in

the

proper

manner.

if

the

plug

is

forced

or

undue

pressure

is

exerted

on

the

shell

or

pins,

damage

could

result

to

the

footswitch

plug

or

the

chassis

mounted

socket.

As

with

any

precision

device,

reasonable

care

should

be

exercised.

FUSE

(25)

The

fuse

is

located

within

the

cap

of

the

fuseholder

and

must

be

replaced

with

one

of

the

proper

type

and

value

if

it

should

fail.

It's

necessary

that

the

proper

type

and

value

fuse

be

used

in

order

to

avoid

damage

to

the

equioment

and

to

prevent

voiding

ihe

warranty.

If

your

unit

repeatedly

blows

fuses,

it

should

be

taken

to

a

qualified

service

center

for

repair.

POWER

SWITCH

(26)

On

domestic

units.

the

power

switch

is

of

the

three-position

type

with

the

center

position

being

“OFF”

This

switch

has

two

"ON"

positions,

one

of

which

is

used

to

ground

the

amplifier

properly.

One

of

the

“ON”

positions

will

yield

the

lowest

amount

of

residual

hum

or

"popping”

when

the

instrument

is

touched

and

this

is

the

position

that

should

be

used

On

export

models,

we

utilize

a

simple

on/off

switch

that

does

not

have

multiple

“ON”

positions

since

the

grounding

(earthing)

conditions

vary

with

the

different

electrical

systems

of

the

United

States

versus

other

nations.

LINE

CORD

(27)

For

your

safety.

we

have

incorporated

a

three-wire

line

(mains)

cable

with

proper

grounding

facilities.

It

is

not

advisable

to

remove

the

ground

pin

under

any

circumstances.

If

it

is

necessary

to

use

the

amp

without

proper

grounding

facilities.

suitable

grounding

adaptors

should

be

used.

Much

less

noise

and

greatly

reduced

shock

hazard

exists

when

the

unit

is

operated

with

the

proper

grounded

receptacles

SPEAKER

OUTPUTS

(28)

The

speaker

output

jacks

are

wired

in

parallel

and

are

of

the

standard

'4"

type.

Either

or

both

may

be

used

when

connecting

your

speaker

system.

The

new

400B

power

module

has

been

designed

to

work

with

a

wide

range

of

speaker

impedances.

This

module

Is

designed

for

optimum

performance

into

a

4-Ohm

load

but

will

easily

handle

lower

(2-Ohm)

and

higher

(8-Ohm)

loads.

One

should

be

aware

that

a

higher

than

4-Ohm

load

wil!

result

in

somewhat

less

power.

Operating

this

unit

into

2

Ohms

is

acceptable

if

proper

ventilation

IS

provided.

UNDER

NO

CONDITIONS

SHOULD

THE

BACK

MOUNTED

HEATSINK

OR

THE

COOLING

GRILLE

ON

TOP

OF

THE

AMP

BE

BLOCKED

OFF

OR

OBSTRUCTED

DURING

OPERATION.

When

operating

at

below

2

Ohms.

the

internal

voltage

‘current

limiting

circuit

wil

limit

the

dissipation

of

the

output

devices

and

continuous

operation

in

this

overload

condition

will

activate

the

automatic

thermal

protective

circuitry.

This

thermostatically

controlled

thermal

protective

circuitry

is

automatically

resetting

and

will

reactivate

as

soon

as

the

junctions

of

the

silicon

output

devices

again

reach

safe

operaling

temperatures.

Because

of

the

unique

design

of

the

DDT

compressor.

the

circuitry

will

still

minimize

clipping

regardiess

ofload

values.

LINE

(MAINS)

CORD

RETAINER

(29)

We

have

provided

two

large

molded

line

cord

retainers

on

the

rear

panel

to

allow

storage

of

the

mains

cable

for

travel.

In

operation

the

cable

should

be

completely

unwrapped

to

allow

maximum

heat

dissipation

from

the

rear

panel

/

heatsink.

REAR

PANEL

DIAGRAM

BASS

SPECIFICATIONS

OUTPUT

POWER:

INPUT

IMPEDANCE:

210

watts

RMS

@

1%

THD

into

4

ohms

220

K

ohms

300

watts

RMS

@

1%

THD

into

2

ohms

SIGNAL-TO-NOISE

RATIO:

SENSITIVITY:

70

dB

(50

K

ohms

source

impedance)

15

mV

@

1

KHz

(Tone

Controls

Flat,

Volume

12:00)

EXAMPLE

OF

BI-AMP

HOOKUP

Set

crossover

point

for

most

pleasing

“Blend”

and

freedom

from

speaker

distortion,

(a

@

E

o

Balance

system

with

external

power

amo's

Gain

Control.

x

To

external

amp's

speaker

output

|

a

High

Frequency

System

Low

Frequency

System

215

BW

118FH

4

Ohms

4

Ohms

PEAVEY

ELECTRONICS

CORP

Post

Office

Box

2898

Meridian,

MS

39301

Telephone:

(601)

483-5365

“Specifications

are

subject

to

change

without

notice.”

PRINTED

IN

U.S.A.

80301002

€

1979