Peavey TKO 65 Bedienungsanleitung

WARNING

PREVENT

ELECTRICAL

SHOCK

FIRE

HAZARD,

NOT

EXPOSE

THIS

APPLIANCE

RAIN

MOISTURE.

BEFORE

USING

THIS

APPLIANCE,

READ

BACK

COVER

FOR

FURTHER

WARNINGS.

PERATING

GUDE

INTRODUCTION

AND

GENERAL

DESCRIPTION

Congratulations

your

purchase

the

TKO™

bass

amplification

system.

After

reading

this

owner's

manual

you

should

have

understanding

the

operating

principles

the

TKO™

65.

thorough

understanding

these

instructions

will

also

help

you

achieve

many

varied

tonal

settings.

The

TKO™

advanced,

medium

powered

single

unit

bass

amp

designed

primarily

for

studio

and

club

applications

and

equally

effective

medium

powered

keyboard

amplification

system.

The

TKO™

utilizes

flexible

input

circuitry

and

gain

(volume)

controls

well

asa

unique

system

active/passive

equalization.

Both

the

bassist

and

keyboardist

will

benefit

from

the

unique

and

highly

versatile

circuitry

employed

the

TKO™

65.

with

any

sophisticated

piece

equipment,

there

are

some

operating

principles

concerning

the

inputs,

gain

controls,

equalization

and

patching

facilities

which

must

understood

obtain

the

best

tonal

results,

Please

read

this

owner's

manual

and

keep

handy

for

reference

THE

FRONT

PANEL

ON/OFF

SWITCH:

the

on/oif

switch

rocker-type

switch

and

should

present

problems

operation.

the

position,

red

LED

will

iluminate

showing

that

power

being

supplied

the

unit.

NOTE:

WHEN

THE

UNIT

TURNED

ON,

THE

COMPRESSION

LED

INDICATOR

(DDT)

WILL

MOMENTARILY

ILLUMINATE.

GROUND

SWITCH:

The

ground

switch

3-position

rocker-type

switch

which,

most

applications,

should

bbe

operated

in its

conter

"zero"

position

You

may

encounter

some

situations

where

audible

hum

and/or

noise

will

come

from

the

loudspeaker.

this

situation

arises,

position

the

ground

switch

either

positive

negative

until

the

noise

minimized.

NOTE:

SHOULD

THE

NOISE

PROBLEM

CONTINUE,

CONSULT

YOUR

AUTHORIZED

PEAVEY

DEALER,

PEAVEY

FACTORY

QUALIFIED

SERVICE

TECHNICIAN.

NOT,

UNDER

ANY

CIRCUMSTANCES,

REMOVE

THE

GROUND

THE

MAIN

(POWER)

CABLE

DDT™

COMPRESSION

LED:

The

TKO™

utilizes

our

patented

DDT™

(Distortion

Dotection

Technique)

compression

circuit

effectively

minimize

the

possibility

distortion

(square

waves)

from

entering

the

loudspeaker.

(U.S.

Patent

#4,318,053)

mentioned

the

on/off

switch

section,

the

DDT™

LED

will

sometimes

illuminate

wnen

the

unitis

first

turned

and

this

should

considered

normal,

The

DDT™

LED

will

also

occasionally

illuminate

indicate

that

the

DDT"

circuit

automatically

engaging

prevent

distortion.

NOTE:

THE

DDT™

LED

REMAINS

CONTINUOUSLY

LIT

WHILE

YOU

ARE

PLAYING,

THIS

INDICATION

THAT

THE

GAIN

(VOLUME)

CONTROLS

AND/OR

EQUALIZATION

CONTROLS

ARE

SET

POSITIONS

THAT

MAKING

THE

POWER

AMP

OVERWORK,

ALTHOUGH

THE

DDT",

MOST

CASES,

WILL

PREVENT

SPEAKER

DAMAGE

AND/OR

FAILURE

WOULD

RECOMMEND,

THAT

THE

GAIN

AND

EQUALIZATION

CONTROLS

READJUSTED

UNTIL

THE

DDT

LED

WILL

ILLUMINATE

PERIODICALLY.

PATCH

SECTION:

The

patch

section

consists

two

jacks

labeled

preamp

out

and

poweramp

in.

Primarily

the

preamp

output

and

power

amp

input

jacks

are

used

for

patching

effects

devices

and

signal

processing

equipment

“in-line”

with

the

TKO™

65.

Most

devices

suchas

flangers,

chorus,

tape/anelog/digital

delays

gain

devices

such

external

compressors

can

used

within

this

effects

loop.

The

preamp

output

level

approximately

volt

RMS

and

relatively

low

impedance-

1000

ohms.

utilize

the

effects

loop,

use

high

quality,

shielded

patch

cord

and

plug

one

end

into

the

preamp

output

and

the

other

end

into

the

external

device

Input

return

the

processed

signal

the

TKO"

65,

use

second

high

quality,

shielded

patch

cord

and

plug

one

end

into

the

external

unit

output

and

the

other

end

the

patch

cord

into

the

power

amp

input.

Since

this

method

using

effect

places

the

device

after

the

preamp/

equalization

and

before

the

power

‘amp

you

will

nave

greater

degree

control

over

the

sound

quality

the

device

signal

processing

unit.

The

preamp

output

canalso

used

send

the

signal

the

instrument/

preamp

mixing

and

recording

consoles.

For

this

method

use

high

quality,

shielded

patch

cord

and

make

the

connection

from

the

TKO"

68's

preamp

output

tothe

desired

channel

tha

mixer

auxiliary

device

where

the

signal

not

returned

the

power

amp

input

the

TKO™

65.

With

this

method

sending

your

instruments

signal

mixer

auxiliary

device,

you

not

have

utilize

the

power

amp

input

the

signal

will

automatically

feed

the

power

amp

section.

(For

further

uses

the

preamp

output/power

amp

input

see

bi-amping

the

TKO")

EQUALIZATION

SECTION

The

equalization

contrals

(presence,

high.

mid,

shift

and

low)

are

unique

combination

active

and

passive

circuits

enable

you

achieve

multitude

tonal

colors.

design,

with

the

exception

the

presence

control,

the

tonal

capabilities

the

low,

mid

and

high

controls

will

slightly

interact

with

each

other.

PRESENCE

CONTROL:

The

presence

control

should

used

adjust

the

extreme

high

end

(treble)

the

bass

guitar

Keyboard

signal.

This

active

control

and,

such,

will

cause

effect

the

other

controls

when

placed

its

o'clock

zero

position.

For

less

Nigh

end

response,

rotate

the

presence

control

counterclockwise

(zero

-12

dB)

until

achieving

the

desired

high

end

roll

off

boost

the

high

end

response

the

preamp,

rotate

the

control

clockwise

(zero

12.

dB),

The

boost

portions

this

control

are

extremely

effective

for

enhancing

neck

slapping/string

popping

techniques

(see

tone

setting

charts

for

further

examples)

HIGH

CONTROL:

The

high

control

conventional

and

should

present

problem

operation.

Clockwise

rotation

will

increase

the

systems

trable

response

while

counterclockwise

rotation

will

reduce

the

high

end.

conjunction

with

the

presence

control,

the

high

control

will

lurther

enhance

many

contemporary

bass

playing

techniques

(see

the

tone

setting

charts

for

further

examples).

MID

AND

SHIFT

CONTROLS:

The

mid

and

shiftcontrols

will

enable

you

have

complete

control

over

tne

vital

mid-band

frequencies.

The

mid

control

equalization

circuit

allowing

superb

tailoring

the

mid-band

and

the

shift

control

allows

the

bassist

and

keyboardist

determineat

what

lrequency

the

mid

control

will

operate.

get

you

acquainted

with

these

two

very

flexible

controls,

the

following

experiment

Plug

the

instrument

into

the

high

low

gain

jack

Adjust

the

pre

gain

control

#3,

making

sure

that

the

pull

bright

switch

off

Adjust

the

post gain

control

above

its

o'clock

position

making

sure

thet

Ihe

pull

punch

switch

its

off

position

(not

pulled

out).

Place

the

mid

control

somewhere

between

and

Piey

your

open

first

(G)

atring

(or

strike

note

the

middle

the

keyboard

range)

and

allow

sustain.

the

note

sustains,

manually

sweep

the

shitt

contro!

from

its

150

position

Its

1.5K

position.

the

shift

control

swept

notice

the

dramatic

changes

occurring

the

tonality

the

mid-band.

‘Through

experimentation,

you

will

ableto

determine

what

settings

are

appropriate

for

your

musical

styles.

good

rule

thumb

for

the

operation

tne

mid

and

shift

controls

is:

For

well

defined,

tignt

sound

(country/jazz)

mid

cut

and

lower

operation

the

shift

control

desireable

whereas,

for

rock,

mid

boost

end

higher

operation

the

shift

control

needed.

LOW

CONTROL:

The

low

control

conventional

circuit

designed

provide

smooth,

gradual

increases

bass

response

over

its

entire

range,

Although

Ihe

low

control

should

present

noproblem

operation,

should

noted

that

"overboosting’”

the

low

control

may

cause

the

TKO™

65's

DDT™

compression

LED

activate

prematurely

—

even

low

volume

levels.

Usually,

this

occurrence

can

corrected

cutting

(reducing)

the

low

control

until

the

DOT™

LED

activates

periodically

GAIN

SECTION

POST

GAIN

CONTROL:

normal

use,

the

post

gain

control

should

operated

above

the

o'clock

position.

obtain

maximum

power

reserve,

rotate

the

control

fully

clockwise

#10.

NOTE:

WITH

THE

POST

GAIN

CONTROL

10,

THE PRE

GAIN

CONTROL

SHOULD

NORMALLY

OPERATED

ORBELOWITS

O'CLOCK

POSITION

AVOID

UNWANTED

DISTORTION.

WHILE

UTILIZING

THIS

MAXIMUM

POWER

SETTING

AND

EXTREME

HIGH

END

BOOST

THE

EQUALIZATION

SECTION,

YOU

MAY

FIND

NECESSARY

BACK

DOWN

(CUT)

THE

POST

GAIN

CONTROL

APPROXIMATELY

ITS

POSITION

AVOID

UNWANTED

HISS.

The

post

gain

control

utilizes

integral

pull

switch

call

“punch”.

When

activated,

punch

creates

approximately

boost

120Hz

and

adds

dramatically

and

effectively

the low

end

response

and

projection

charactoristics

the

TKO™

65,

PRE

GAIN

CONTROL:

The

pre

gain

control

the

first

volume

control

the

system.

mentioned

the

post

gain

control

description,

the

post

gain

control

set

between

its

and

#10

positions

for

maximum

power

reserve,

the

pre

gain

control

should

positioned

somewhere

the

middle

its

range

lower.

Placing

tho

pra

gain

control

higher

than

may

cause

unwanted

square

waves

(distortion)

and

result

premature

clipping

and/or

undue

activation

the

DDT"

compression

circuitry.

The

pre

gain

Control

also

employs

pull

bright

switch

which

adds

approximately

boost

tothe

high

ena.

the

high

and

presence

controls,

the

pull

bright

switch

can

used

enhance

many

modern

bass

playing

techniques.

INPUTS

‘The

TKO"

has two

inputs

labeled

high

gain

and

low

gain.

The

high

gain

input

the

inputwhicn

should

normally

used

and

will

deliver

the

highest

signal

level

from

the

instrument

the

preamp

the

power

amp.

‘Sometimes,

however,

bass

guitars

that

are

equipped

with

very

high

output

“hot

pickups

will

overload

the

high

gain

input.

This

will

apparent

because

you

will

hear

some

unwanted

cistortian

the

loudspeaker.

this,

distorted

sound

does

occur,

plug

the

instrument

into

the

low

gain

input,

which

has

less

gain

(-8

dB)

then

the

high

gain

input.

When

two

instruments

signal

sources

are

plugged

into

the

inputs,

the

low

gain

input

‘automatically

switched

the

same

level

the

high

gain

input.

NOTE:

WHEN

USING

TWO

INSTRUMENTS,

SIGNAL

SOURCES

STRONGLY

RECOMMEND

THE

VOLUME

CONTROL

SET

REASONABLY

LOW

VOLUME

LEVEL

REDUCE

THE

POSSIBILITY

UNDUE

DISTORTION

AND/OR

SPEAKER

DAMAGE.

INPUTS

GAINS]

EQUALIZATION

——

aS6

a56

0-0:

4124

HIGH

Low

GAN

GAIN

PRE

past

PULL

BRIGHT

PULL

PUNCH

PRESENCE

COUNTRY/BLUES

INPUTS

—

EGUALIZATION

——

a56

48s

Ong

20):

eC).

FUNK/THUMB

SLAPPING

TECHNIQUES

INPUTS

SAIN]

EGUALIZATION

—————4

aSe6

456

Tog

agi

r 3

6 e

8 2

124

PRE

PosT

PULLERIGHT

PULL

PUNCH

Mio

HIGH

PRESEN

NOTE:

‘THE

ABOVE

TONE

CHARTS

ARE

MEANT

ONLY

GENERAL

GUIDE

AND

ARE

PROVIDED

FAMILIARIZE

THE

PLAYER

WITHTHE

FUNCTIONS

AND

CONTROLS

THE

TKO™

65.

ADJUSTMENTS

THESE

CONTHOLS

WILL

NECESSARY

DUE

VARYING

TYPES

INSTRUMENTS,

PICKUPS

AND

ACCESSORIES

UTILIZED

ALONG

WITH

YOUR

STYLE

MUSIC

AND

PLAYING

TECHINQUES.

SURE

READ

ALL

THIS

OPERATING

GUIDE

UNDERSTAND

FULLY

ALL

THE

CONTROLS

AND

THEIR

FUNCTIONS.

BI-AMPING

THE

TKO™

Many

bassists

and

keyboard

players

today

utilize

technique

called

bi-amping

increase

the

efficiency

(performance)

their

amplification

systems,

This

can

accomplished

with

the

TKO™

65,

one

external

power

amplifier,

one

additional

speaker

and

enclosure,

and

device

known

crossover.

The

crossover,

such

Peavey's

ECM™

(Electronic

Crossover

Mainframe)

and

PL™

Series

plug

crossover

modules,

the

device

used

divide

the

instrument's

signal

into

two

separate

signals:

low

frequencies

and

high

frequencies.

bi-amp

the

TKO"

65,

use

high

quality,

shielded

patch

cord

and

make

the

connection

fromthe

preamp

output

the

crossover

device

input.

the

TKO"

used

for

the

high

frequency

section,

use

another

high

quality,

shielded

patch

cord

and

make

the

connection

from

the

crossover's

high

output

the

TKO™

65's

power

amp

input.

The

low

frequency

output

the

crossover

should

then

connected

external

power

amp

(Peavey

Mode!

M-3000"

XC-400"

recommended)

and

the

output

the

power

amp

connected

the

speaker

system

with

high

quality,

unshielded

patch

cord.

NOTE:

YOU

ARE

NOT

FAMILIAR

WITH

THIS

TECHNIQUE,

CONSULT

YOUR

AUTHORIZED

PEAVEY

DEALER

THE

PEAVEY

FACTORY

OBTAIN

PROPER

CROSSOVER

POINTS

AND

OTHER

PERTINENT

INFORMATION

FOR

YOUR

BI-AMP

SYSTEM.

TKO™

SPECIFICATIONS:

POWER

AMPLIFIER

SECTION:

RATED

POWER

LOAD:

RMS

into

ohms

with

DDT"

compression

POWER

CLIPPING:

(TYPICALLY)

(5%

THDI,

KHz,

120

VAC

Line)

RMS

into

ohms

RMS

into

ohms

RMS

into

ohms

not

recommended

FREQUENCY

RESPONSE:

+0,

«1

dB,

KHz

RMS

into

ohms

TOTAL

HARMONIC

DISTORTION:

Less than

0.2%,

100

RMS,

KHz,

ohms,

typically

below

0.1%

DDT™

DYNAMIC

RANGE:

Greater

than

DDT™

MAXIMUM

THD:

Below

0.5%

THD

for

overload

Below

THD

for

overload

HUM

NOISE:

Greater

than

below

rated

power

POWER

CONSUMPTION:

(DOMESTIC)

200

watts,

50/60

Hz.

120

VAC

PREAMP

SECTION;

THE

FOLLOWING

SPECS

ARE

MEASURED

KHz

WITH

THE

CONTROLS

PRESET

FOLLO)

PRE

GAIN

PULL

BRIGHT

OFF

(IN)

POST

GAIN

PULL

THICK

OFF

(IN)

POST

GAIN

Low

SHIFT

300

MID

HIGH

PRESENCE

NOMINAL

LEVELS

ARE

WITH

PRE

GAIN

MINIMUM

LEVELS

ARE

WITH

PRE

GAIN

PREAMP

HIGH

GAIN

INPUT:

Impedance:

High

220K

ohms

Nominal

Input

Level:

-26

JBV,

RMS

Minimum

Input

Level:

-46

dBV,

RMS

Maximum

Input

Level:

dBV,

RMS

PREAMP

LOW

GAIN

INPUT:

Impedance:

High

44K

ohms

Nominal

Input

Level:

-20

dBV,

100

RMS

Minimum

Input

Level:

-40

dV,

RMS

Maximum

Input

Level:

+12

dBV,

RMS

PREAMP

OUTPUT:

Load

Impedance:

ohms

greater

Nominal

Output:

dBV,

RMS

POWER

AMP

INPU

Impedance:

High

22K

ohms

Designed

Input

Level:

dBV,

RMS

SYSTEM

HUM

NOISE

NOMINAL

INPUT

LEVEL:

(20

KHz

unweighted)

below

rated

power

EQUALIZATION:

Special

Low,

Shift,

Mid

High

Passive

ẸQ

Presence:

+-12

KHz

(Active

EQ)

Pull

Bright:

KHz

Pull

Punch:

Special

Due

our

efforts

for

constant

improvement,

features

and

specifications

are

subject

change

without

notice.

The

GOVERNMENTS

OCCUPATIONAL

SAFETY

AND

HEALTH

AGM

MIETAA

TION

(OSHA)

HAS

SPECIFIED

TUE

FOUL

ONING

PERNISSIALE

NOISE

LEVEL

EXPOSURES

‘nation

PER

DAY

HOURS

hey

stra

oparatng

ant

ada

ags

tees

cise

mane

nnen

oetama

peewee

eine

‘Sounb

DEVEL

aak

SLOW

RESPONSE

Tape

stn

pas

garaget

Tapsa

ues

etrg

PEAVEY

ELECTRONICS

CORPORATION

711

Street

Meridian,

39301

U.S.A.

‘ran

simon

based

novo

Ceaser

hers

1982

Printed

U.S.A.

enn7oes

wee

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Peavey

Peavey Special 150 Bedienungsanleitung

Peavey

Peavey Classic 100 Bedienungsanleitung

Peavey

Peavey MicroBass Bedienungsanleitung

Peavey

Peavey Ecoustic E208 Bedienungsanleitung

Beliebte Verstärker für Musikinstrumente Handbücher anderer Marken

acus

acus One Forstreet 10 Bedienungsanleitung

Marshall Amplification

Marshall Amplification MG10KK Bedienungsanleitung

Pyle Pro

Pyle Pro PPG860A Bedienungsanleitung

Laney

Laney BC30 Bedienungsanleitung

Vox

Vox Pathfinder 15SMR Bedienungsanleitung

Marshall Amplification

Marshall Amplification JVM205C Bedienungsanleitung

Crate

Crate Professional BV-120H Bedienungsanleitung

Fender

Fender Bassman 1200 Bedienungsanleitung

ZT Club Bedienungsanleitung

Ibanez

Ibanez IFS2X Bedienungsanleitung

Crate

Crate GLX1200H Bedienungsanleitung

Laboga

Laboga THE BEAST Bedienungsanleitung

Falken1

Falken1 Traveller Pro Bedienungsanleitung

Hughes & Kettner

Hughes & Kettner Bass Kick 303 Bedienungsanleitung

Yamaha

Yamaha GA-10 Bedienungsanleitung

Engl

Engl Powerball-2 Service-Handbuch

Gibson

Gibson GA5WTR Kurzanleitung

Engl

Engl Powerball-2 Bedienungsanleitung