Peavey TNT 130 Bedienungsanleitung

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TNT

130

Operating

Guide

INTRODUCTION

AND

GENERAL

DESCRIPTION

Congratulations

on

your

purchase

of

the

Peavey

TNT'"

130

bass

amplification

system.

After

reading

this

owner’s

manual

you

will

have

a

better

understanding

of

the

operating

principles

of

the

system.

A

thorough

understanding

of

these

instructions

will

also

help

you

to

achieve

many

varied

tonal

settings.

The

TNT'"

130

isa

highlyadvanceG,

130

watt

bass

system

utilizing

the

latest

active

equalization

circuitry,

built-in

variable

crossover

network,

patching

facilities,

a

tuned

and

ported

enclosure

and

a

very

efficient

15“

loudspeaker.

(As

an

option,

the

TNT

™

130

is

available

with

a

premium

Black

Widow®/Super

Structure"*

transducer

model

#1502-

4.)

The

TNT’“

130

also

employs

our

patented

DDT

™

(Distortion

Detection

Technique)

compression

circuit

(U.S.

Patent

#4,318,053)

which

automatically

detects

the

onset

of

clipping

(distortion)

at

the

power

amp.

Not

only

does

this

novel

circuit

help

prevent

speaker

damage/failure,

it

also

aids

in

reproducing

the

ultra

clean

sounds

for

today’s

bass

and

keyboard

styles.

As

with

any

sophisticated

piece

of

equipment,

there

are

some

operating

principles

concerning

the

input

stage,

gain

controls,

equalization

and

patching

facilities

which

must

be

understood

to

obtain

the

best

tonal

results.

Please

read

and

understand

this

manual

and

keep

it

handy

for

future

reference.

TNT

™

1

30

SPECIFICATIONS

POWER

AMPLIFIER

SECTION:

RATED

POWER

&

LOAD:

130

W

RMS

into

4

ohms

with

DDT'“

compression

POWER

@

CLIPPING:

(TYPICALLY)

(5%

THO,

1

KHz.

120

VAC

line)

85

W

RMS

into

8

ohms

140

W

RMS

into

4

ohms

2

ohms

not

recommended

FREQUENCY

RESPONSE:

*0.

-1

dB.

20

Hz

to

20

KHz

@

100

W

RMS

into

4

ohms

TOTAL

HARMONIC

DISTORTION:

Less

than

0.2%.

100

mW

to

100

W

RMS.

20

Hz

to

10

KHz.

4

ohms,

typically

below

0

1%

DDT'"

DYNAMIC

RANGE:

Greater

than

20

dB

DDT

“

MAXIMUM

THD:

Below

0.5%

THD

for

6

dB

overload

Below

1%

THD

for

20

dB

overload

HUM

&

NOISE:

Greater

lhan

95

dB

below

rated

power

POWER

CONSUMPTION:

(Domestic)

30

watts.

50/60

Hzm

120

VAC

PREAMP

SECTION:

THE

FOLLOWING

SPECS

ARE

MEASURED

@

1

KHz

WITH

THE

CONTROLS

PRESET

AS

FOLLOWS:

PRE

GAIN

PULL

BRIGHT

OFF

(IN)

POST

GAIN

PULL

PUNCH

OFF

(IN)

POST

GAIN

@

10

LOW

EO

@

-6

dB

MID

EO

@

-6

dB

SHIFT

O

300

Hz

BANDWIDTH

@

12:00

HIGH

(5)

+9

dB

PRESENCE

@0

dB

NOMINAL

LEVELS

ARE

WITH

PRE

GAIN

@

5

MINIMUM

LEVELS

ARE

WITH

PRE

GAIN

@

10

PREAMP

HIGH

GAIN

INPUT:

Impedance:

High

Z.

220K

ohms

Nominal

Input

Level:

-30

dBV.

30

mV

RMS

Minimum

Input

Level

-46

dBV.

5

mV

RMS

Maximum

Input

Level:

+8

dBV.

2.5

V

RMS

PREAMP

LOW

GAIN

INPUT:

Impedance:

High

Z.

44K

ohms

Nominal

Input

Level:

-24

dBV

60

mV

RMS

Minimum

Input

Level:

-40

dBV.

10

mV

RMS

Maximum

Input

Level:

*-14

dBV,

5

V

RMS

CROSSOVER

HIGH

OUTPUT:

Function:

High

pass

out

Load

Impedance:

IK

ohms

or

greater

Nominal

Output:

0

dBV.

1

V

RMS

Maximum

Output:

*18

dBV,

8

V

RMS

CROSSOVER

LOW

OUTPUT:

Function:

Low

pass

out

Load

Impedance:

IK

ohms

or

greater

Nominal

Output:

0

dBV.

1

V

RMS

Maximum

Output:

+18

dBV,

8

V

RMS

PREAMP

OUTPUT:

Function:

Full

range

out

Load

Impedance:

IK

ohms

or

greater

Nominal

Output:

0

dBV,

1

V

RMS

Maximum

Output:

+18

dBV.

8

V

RMS

POWER

AMP

INPUT:

Impedance:

High

Z.

22K

ohms

Designed

Input

Level:

0

dBV.

1

V

RMS

(Switching

jack

providing

preamp

output

to

power

amp

input

connection

when

not

used)

SYSTEM

HUM

&

NOISE

@

NOMINAL

INPUT

LEVEL:

(20

Hz

to

20

KHz

unweighted)

78

dB

below

rated

power

EQUALIZATION:

Low

&

High:

+-15

dB

(®

80

Hz

&

3

KHz,

shelving

Mid-

—15

dB

(with

shift

&

bandwidth),

peak/notch

Shift:

150

Hz

to

1500

Hz

Bandwidth:

1/3

to

3

octaves

Presence:

+-15

oB

(Special

EO)

Pull

Bright:

*6

dB

@

2

KHz

Pull

Punch:

Special

EQ

CROSSOVER:

(FOR

BI-AMP

APPLICATIONS)

Range:

50

Hz

to

500

Hz

Slope:

i2dB/octave

WARNING

TO

PREVENT

ELECTRICAL

SHOCK

OR

FIRE

HAZARD,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE.

BEFORE

USING

THIS

APPLIANCE.

READ

BACK

COVER

FOR

FURTHER

WARNINGS.

THE

FRONT

PANEL

On/Ofl

Switch

The

on/oif

power

switch

is

a

two

position

rocker-type

and

should

present

no

problem

In

operation.

In

the

on

position,

a

red

LED

indicator

will

Illuminate

showing

that

power

is

oeing

supplied

to

the

unit.

NOTE:

WHEN

THE

UNIT

IS

TURNED

ON

THE

DDT"

COMPRESSION

LED

MAY

MOMENTARILY

ILLUMINATE.

ALTHOUGH

WE

RECOMMEND

THAT

THE

GAIN

CONTROLS

(PRE

AND

POST

GAIN)

SHOULD

BE

AT

THEIR

ZERO

POSITIONS

BEFORE

THEPOWER

SWITCH

IS

TURNED

ON,

THE

OCCASIONALLY

LIGHTING

OF

THE

DDT'

-

LED

IN

THIS

INSTANCE

SHOULD

BE

CONSIDERED

NORMAL.

Ground

Switch

The

ground

switch

is

a

3-position

rocker-type

which,

in

mostappllcations.should

be

operated

in

itscenter

or

zero

position.

You

may

encounter

some

situations

where

an

audible

hum

and/or

noise

will

come

from

the

loudspeaker.

If

this

situation

arises,

posilion

the

ground

switch

toeitheroositive

or

negative

or

until

the

noise

is

eliminated

NOTE:

SHOULD

THE

NOISE

PROBLEM

CONTINUE.

CONSULT

YOUR

AUTHORIZED

PEAVEY

DEALER.

THE

PEAVEY

FACTORY

OR

QUALIFIED

SERVICE

TECHNICIANS

DO

NOT

UNDER

ANY

CIRCUMSTANCE.

REMOVE

THE

GROUND

PIN

ON

THE

MAINS

(POWER)

CABLE

NOTE:

The

Ground

Switch

is

not

functional

on

export

units.

DDT'"

Compression

The

TNT*

130

utilizes

our

patented

DDT’"

(Distortion

Detection

Technique)

compression

circuit

to

effectively

eliminate

the

possibility

of

distortion

(square

waves)

from

occuring

within

the

power

amp

As

mentioned

in

the

On/Off

Switch

section,

the

DOT

1

*

LED

will

sometimes

illuminate

when

the

unit

is

first

turned

on

and

this

should

be

considered

normal.

The

DDT"

LED

will

also

occasionally

illuminate

to

indicate

tnat

the

DOT"

circuit

is

automatically

engaging

to

prevent

distortion.

NOTE;

IF

THE

DDT"

LED

REMAINS

CONSTANTLY

LIT

WHILE

YOU

ARE

PLAYING.

THIS

IS

AN

INDICATION

THAT

THE

GAIN

(VOLUME)

CONTROLS

AND/OR

EQUALIZATION

CONTROLS

ARE

SET

IN

POSITIONS

THAT

ARE

MAKING

THE

POWER

AMP

OVERWORK.

ALTHOUGH

THE

DDT".

IN

MOST

CASES.

WILL

PREVENT

SPEAKER

DAMAGE

AND/OR

FAILURE

WE

RECOMMEND

THAT

THE

GAIN/EQUALIZATION

CONTROLS

BE

READJUSTED

UNTIL

THE

DDT'"

LED

WILL

ILLUMINATE

PERIODICALLY

Patch

Section

The

patch

section

consists

of

tv/o

jacks

labeled

preamp

output

and

power

amp

input.

Primarily

the

preamp

output

and

power

amp

input

jacks

are

used

for

patching

effects

devicesand

signal

processing

equipment

"in¬

line"

with

the

TNT'"

130.

Most

devices

such

as

flangers,

chorus,

tape/analog/digital

delays

or

gain

devices

such

as

external

compressors

can

be

used

within

the

effects

loop.

The

preamp

output

level

is

approximately

1

volt

RMS

and

is

a

relatively

low

impedance

—

1000

ohms.

To

utilize

this

effects

loop,

use

a

high

duality,

shielded

patch

cord

and

plug

one

end

into

the

preamp

output

and

the

other

end

into

theexternal

device

input.

To

return

the

processed

signal

to

the

TNT'"

130.

use

a

second

high

quality

shielded

patch

cord

and

plug

one

end

into

the

external

unit

output

and

the

other

end

of

the

patch

cord

Into

the

power

amp

input

Since

this

method

of

using

an

effect

places

the

device

alter

the

preamp/

equalization

and

before

tne

power

amp

you

will

have

a

greater

degree

of

control

over

the

sound

quality

of

the

device

or

signal

processing

unit

The

preamp

output

can

also

be

used

to

send

the

signal

of

the

instrumem/

preamp

to

mixing

and

recording

consoles.

For

this

method

use

a

high

quality,

shielded

patch

cere

anc

make

the

connection

from

the

TNT"

130’s

preamp

output

to

the

desired

channel

of

the

mixer

or

loan

auxiliary

device

where

the

signal

is

not

to

be

returned

to

the

power

amp

input.

With

this

method

of

sending

your

instrument

signal

or

auxiliary

device,

you

do

not

have

to

utilize

the

power

amp

input

as

the

signal

will

automatically

feed

the

power

amp

section

-iU

The

Crossover

The

TNT'"

130

is

equipped

with

a

built-in

variable

crossover

network

which

gives

thebassist/keyboardist

the

basic

tools

to

perform

the

bi-amp

function.

To

achieve

the

bi-ampfunction

the

musician

must

acquire

one

(1)

additional

power

amp

and

one

(1)

additional

loudspeaker

and

enclosure.

For

a

perfect

companion

system

we

recommend

our

XC-400'"

or

M-3000"

power

amps

and

the

118D’"

low

frequency

enclosure.

To

utilize

this

recommended

bi-amp

system,

use

a

short,

high

quality,

shielded

patch

cord

(1

-

3

feet

in

length)

and

make

the

connection

from

the

high

output

of

the

crossover

section

to

the

power

amp

input

of

the

TNT'"

130

Use

a

longer,

high

quality,

shielded

patch

cord

to

make

the

connection

from

the

low

output

of

the

crossover

section

to

the

external

power

amp

input

Use

a

high

quality,

unshioldod

patch

cord

to

make

the

connection

from

the

external

power

amp's

outputs

to

the

low

frequency

enclosure.

We

recommend

that,

for

the

optional

equipment

and

bi-amp

procedures

mentioned

above,

the

crossover

point

be

established

somewhere

around

175

Hz

to

300

Hz.

This

method

now

allows

the

TNT

1

"

130

to

reproduce

only

those

frequencies

above

the

crossover

point

while

the

external

power

amp/enclosure

will

reproduce

frequencies

below

the

crossover

point.

NOTE:

THIS

IS

ONLY

ONE

EXAMPLE

OF

THE

BI-AMP

OPERATION

OF

THE

TNT'"

130.

IF

YOU

ARE

NOT

FAMILIAR

WITH

THIS

OR

ANY

OTHER

BI-AMP

TECHNIQUE,

WE

RECOMMEND

THAT

YOU

CONSULT

YOUR

AUTHORIZED

PEAVEY

DEALER.THE

PEAVEY

FACTORY

OR

QUALIFIED

TECHNICAL

PERSONNELTO

OBTAIN

OTHER

PERTINENT

INFORMATION

ON

YOUR

BI-AMP

SYSTEM.

Equalization

Section

The

TNT'“

130s

equalization

section

contains

six

individual

controls

for

shaping

and

contouring

the

instrument

signal

Please

be

aware

that

the

TNT’"

130

employs

active

circuitry

which

allows

you

to

have

accurate

cut

and

boost

capability

of

highs

(treble),

iows

(bass)

and

the

vital

middle

frequencies.

Because

these

controls

are

active,

tne

low.

mid.

high

and

presence

controls

can

reproduce

the

‘‘natural"

sound

of

the

instrument

without

undue

coloration

by

simply

placing

them

at

their

12

o'clock

or

zero

positions.

Rotating

these

controls

to

their

center

positions

is

actually

an

excellent

place

to

start

when

you

begin

to

search

for

new

tonalities

and

sounds.

NOTE:

WHEN

THE

LOW.

MIDDLE.

HIGH

AND

PRESENCE

CONTROLS

ARE

PLACED

AT

THEIR

12

O'CLOCK

OR

ZERO

POSITIONS.

THERE

WILL

BE

CORRESPONDINGLY

LITTLE

EFFECT

ON

THE

INSTRUMENTS

SIGNAL

AND

THE

CONTROLS

LABELED

SHIFT

AND

BANDWIDTH

WILL

HAVE

NC

EFFECT

BECAUSE

THE

MIDDLE

HAS

BEEN

SET

FLAT".

The

Presence

Control

The

presence

control

should

be

used

to

adjust

the

extreme

high

end

(treble)

of

the

bass

guitar

or

keyboard

signal.

For

less

high

end

response

lotate

the

presence

control

counlerclockwise

(0

to-12dB)

until

achieving

£

IS

5c

a

A

-'!

Vjty

I

(Q,

o

2

5

L,

O

6

Ez

the

desired

high

end

rolloff.

To

boost

high

end

response

of

the

preamp,

rotate

the

control

clockwise

(Oto+12

dB)

The

boost

portions

of

this

control

are

very

effective

for

adding

an

edge

to

contemporary

"neck

slapping"

and

"string

popping"

techniques

employed

by

bassists

or

for

accentuating

the

high

end

of

electronic

keyboards.

(See

tone

setting

charts

tor

further

examples.)

The

High

Control

The

high

control

is

similar

in

operation

to

the

presence

control

but

is

placed

ata

lower

frequency

point.

As

with

the

presence

control,

less

high

end

response

is

obtained

through

counterclockwise

rotation

(0

to

-15

dB)

while

Increased

treble

response

occurs

In

the

ranges

from0to+i5dB.

(See

the

tone

setting

charts

for

further

examples.)

The

Mid,

Shift

and

Bandwidth

Controls

(Parametric

Equalizer)

The

mid,

shift

and

bandwidth

controls

together

determine

the

tonal

response

of

the

vital

mid-band

region.

We

choose

to

use

the

word

vital

to

describe

the

mid

frequencies

because

proper

use

of

this

frequency

region

can

and

does

make

the

difference

between

a

good

sound

and

a

great

one

Thorough

experimentation

with

these

controls

will

rapidly

demonstrate

the

versatility

and

effectiveness

they

will

have

on

your

overall

sound.

The

mid

control

is

the

element

which

will

determine

how

much

of

the

mid

frequency

range

will

be

added

(boost)

or

subtracted

(cut)

As

with

the

other

active

controls,

boost

of

the

mids

is

obtained

from

0

through

+15

dB

while

cut

is

available

from

0

through

-15

dB.

The

shift

control

allows

the

musician

to

determine

where

the

cut

and

boost

of

the

mid

control

will

operate.

The

shift

controls

allow

total

control

of

the

entire

mid-band

region

from

the

low

mids

(150

Hz)

to

the

upper

mids

(1.5

kHz).

To

further

ao|ust

the

mid-band

region,

the

bandwidth

control

can

be

used

to

create

a

peak

sound

in

the

mids

by

gradually

rotating

the

control

counterclockwise

to

the

sharp

position.

By

rotating

tne

banowidth

control

clockwise

(broad)

the

mids

begin

to

gradually

sound

warmer

and

fatter

as

they

are

spread

across

a

wider

portion

of

the

mid-band

spectrum.

To

get

a

better

idea

of

how

the

mid.

shift

and

bandwidth

controls

operate,

do

the

following

experiment:

1.

Plug

the

instrument

into

the

high

or

low

gain

jocks.

2.

Rotate

the

pre

gain

control

to

#2

or

*3

(Pull

Bright

switch

in).

3.

Rotate

the

post

gain

control

between

#5

ana

#8

(Pull

Punch

in)

4.

Place

the

low

and

high

equalization

controls

at

0

(zero).

5.

Place

the

mid

control

somewhere

above

(+)

its

zero

position.

6

Play

the

open

first

(G)

string

or

the

bass

(or

strike

a

note

somewhere

in

the

middle

of

the

keyboard)

and

allow

it

to

sustain.

7

As

the

note

sustains,

manually

sweep

the

shift

and

bandwidth

controls.

Note

the

wide

differences

in

tonality

which

can

be

achieved

with

these

3

controls.

Again,

after

you

spend

time

with

these

three

important

controls

you

will

develop

understanding

of

their

operation

The

Low

Control

The

low

control

determines

the

low

end

(bass)

response

of

the

TNT""

130

The

low

control

is

active

and

is

capable

of

adding

or

subtracting

the

desired

amount

of

low

end.

Boost

is

obtained

from

Oto

-15

dB

and

cut

is

available

from

Oto

-15

dB.

NOTE:

ALTHOUGH

THE

LOW

CONTROL

SHOULD

PRESENT

NO

PROBLEM

IN

OPERATION,

IT

SHOULD

BE

NOTED

THAT

OVERBOOSTING

OF

THE

LOW

CONTROL

MAV

CAUSE

THE

TNT—

130

s

DDT-

COMPRESSION

LED

TO

ACTIVATE

PREMATURELY

—EVEN

AT

LOW

VOLUME

LEVELS.

USUALLY,

THIS

OCCURRENCE

CAN

BE

CORRECTED

BY

CUTTING

THE

AMOUNT

OF

LOWS

UNTIL

THE

DDT"’

LED

ACTIVATES

PERIODICALLY

The

Gain

Section

Post

Gain

Control

In

normal

use.

the

post

gain

control

should

be

operated

above

the

t2

o'clock

or

#5

position.

To

obtain

maximum

power,

rotate

the

control

fully

clockwise

to

«10

NOTE:

WITH

THE

POST

GAIN

CONTROL

AT

ITS

#10

POSITION.

THE

PRE

GAIN

CONTROL

SHOULD

NOT

BE

OPERATED

ABOVE

ITS

12

O'CLOCK

OR

45

POSITION

TO

AVOID

UNWANTED

DISTORTION.

WHILE

UTILIZING

MAXIMUM

POWER

AND

EXTREME

HIGH

END

BOOST

IN

THE

EO

SECTION.

YOU

MAY

FIND

IT

NECESSARY

TO

BACK

DOWN

(CUT)

THE

POST

GAIN

CONTROL

TO

APPROXIMATELY

ITS

#8

POSITION

TO

AVOID

ANY

UNWANTED

RESIDUAL

NOISE

The

post

gain

control

utilizes

an

integral

pull

switch

called

"punch".

When

activated,

punch

adds

a

6

dB

boost

at

120

Hz

and

adds

dramatically

and

effectively

to

tne

lowend

response

and

projection

capabilities

of

the

TNT-

130.

Pre

Gain

Control

The

pre

gain

control

is

the

first

volume

control

of

the

system.

If

the

post

gain

control

is

set

lo

its

full

#10

position

for

maximum

power

reserve.

Ihe

pre

gain

control

should

be

positioned

somewhere

in

the

middle

of

its

range

or

lower

Placing

the

pre

gain

control

higher

than

fc5

may

cause

unwanted

square

waves

(distortion)

and

result

in

premature

clipping

and/or

activation

of

rhe

DDT"

compression

circuitry

The

pre

gain

control

also

employs

a

pull

bright

switch

which

adds

approximately

8

dB

of

boost

to

the

high

end.

Like

the

high

and

presence

controls

explained

in

the

Equalization

Section

paragraph,

the

pull

bright

switch

can

be

used

lo

enhance

many

modern

bass

playing

techniques.

.The

Inputs

The

TNT-130

has

two

inputs

labeled

high

gain

and

low

gam.

The

high

gain

input

is

the

Input

which

should

normally

be

used

and

will

deliver

the

highest

signal

evel

from

the

input

to

the

preamp.

Sometimes,

however,

bass

guitars

that

are

equipped

with

very

nigh

output

hot'

pickups

will

overload

thehigh

gain

input.

This

will

be

apparent

because

you

will

hear

some

unwanted

distortion

at

the

loudspeaker

or

frequent

illuminating

of

the

DDT-

compression

light

If

this

distorted

sound

does

occur,

plug

your

instrument

into

the

lowgain

input

which

has

less

gain

(-

6

dB)

than

the

high

gain

input

Wher

two

instruments

or

signal

sources

are

plugged

into

both

inputs,

the

low

gain

input

is

automatically

switched

to

the

same

level

as

the

high

gain

input.

NOTE:

WHEN

USING

TWO

INSTRUMENTS

OR

SIGNAL

SOURCES

WE

STRONGLY

RECOMMEND

THAT

THE

VOLUME

CONTROLS

BE

SET

AT

A

REASONABLY

LOW

VOLUME

LEVEL

TO

REDUCE

THE

POSSIBILITY

OF

UNDUE

DISTORTION

AND/OR

SPEAKER

DAMAGE.

TONE

SETTINGS

ROCK

COUNTRY-BLUES

ACTIVATE

PULI

BSIGH7

AMD

PULL

PUNCH

FUNK

ACTIVATE

PULL

0RIGH-

NOTE:

THE

ABOVE

TONE

CHARTS

ARE

MEANT

ONLY

AS

A

GENERAL

GUIDE

AND

ARE

PROVIDED

TO

FAMILIARIZE

THE

PLAYER

WITH

THE

FUNCTIONS

AND

CONTROLS

OF

THE

TNT

™

130.

ADJUSTMENTS

TO

THESE

CONTROLS

WILL

BE

NECESSARY

DUE

TO

VARYING

TYPES

OF

INSTRUMENTS.

PICKUPS

AND

ACCESSORIES

UTILIZED

ALONG

WITH

YOUR

STYLE

OF

MUSIC

AND

PLAYING

TECHNIQUES.

BE

SURE

TO

READ

ALL

OF

THIS

OPERATING

GUIDE

TO

UNDERSTAND

FULLY

ALL

OF

THE

CONTROLS

AND

THEIR

FUNCTIONS.

OANGE

■

EXPOSURE

TO

EXTREMELY

HIGH

NOISE

LEVELS

MAY

CAUSE

A

PERMANENT

HEARING

LOSS

INONIOUALS

VARY

CONSIDERABLY

IN

SUSCEPTIBILITY

TO

NOISE

INDUCED

HEARING

LOSS.

BUT

NEARLY

EVERYONE

«VILL

LOSE

SCA1E

HEARING

IF

EXPOSEO

TO

SUFFICIENTLY

INTENSE

NOISE

FOR

A

SUFFICIENT

TIME

THE

U

S

GOVERNMENT'S

OCCUPATIONAL

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ANO

HEALTH

ADMINISTRATION

|C«HA|

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LEVEL

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DURATION

PER

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MS

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Due

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