Peavey Classic VT Series

2.4.1. BASS EQUALIZATION CONTROL
The bass equalization control determines the low frequency emphasis and is capable of substantially
more effect than many of the more conventional passive tonaf networks. For this reason, the control will tend
to make the amp sound "bassy" at high settings. We have designed the circuitry to provide more tonal
variation lo allow you a greater range-
2.4.2. MIDDLE EQUALIZATION CONTROL
The middle equalization control Is used to tailor the relative level of the vital mid-range frequencies.
Experimentation with this middle control will show that It Is very effective and enables the voicing of the amp
to be changed significantly.
2.4.3. TREBLE EQUALIZATION CONTROL
The treble equalization control varies the high end response and is extremely effective. The treble control
should provide more than adequate variation at high end response to compensate for lack of frequency
response in your instrument or to achieve special tonal results.
2.5. PHASE CONTROLS
Phasing is a rather Interesting effect that Involves the Introduction of a variable frequency notch in the
amplifier's passband that produces very characteristic sounds. Many phasor circuits have been offered as
separate accessory Items but few have been offered as an Integral part of musical Instrument amplifiers. We
have designed a unique phasing system into the VT Series. This phasor Is capable of producing an extremely
wide range of phasing effects, Including tremolo/vibrato effects. When used with a touch of reverberation, It
can closely approximate other popular sound effects such a those produced by rotating speakers, etc. We
have designed an extremely wide-range oscillator circuit that is capable of very slow rates, as weil as
progressing to high rates closely associated with tremolo, as well as rales produced byrotatlng speakers. We
have also bulit in a range of effects tha vary from a very distinct "swooshing"' phase to a very mild and subtle
variation. Experimentation will show the extreme versatility of this built-in phase circuit.
2.e. COLOR CONTROL
The phase color control is the element that determines the amount of internai feed back that sets the ievel
of the phasing effect In the counter-clockwise position, very subtle changes may be heard, while extremeiy
deep phasing effects with the accompanying characteristic "swooshing" sounds are obtained at the extreme
clockwise setting. Experimentation will showthe versatliityofthlscircuit. Becauseofthe unique action of this
control, some degree of regeneration Is Introduced Into the circuit In the extreme clockwise ("8", "9", "10")
positions and you will note the most effect In the last quarter turn.
2.7. RATE CONTROL
The rate control determines the speed of the built-in pahse oscillator. You will note that the speed Is
variabie from extremely slow to extremely rapid, covering a far greater range than conventional phase or
tremolo oscillators, in fact, effectively covering the operational range of both types. Counter-clockwise
settings will produce an extremely slow speed, with advancing speed as the rate control is rotated clockwise.
Please note that the rale control features an integral switch which Is cut oft in the full counter-clockwise
position to allow the phase circuitry to cut completely out of the circuit from the front panel of the amp and
without the footswltch. Please note thatthe phase circuitry will network nor can It be controlled by the remote
switch If the circuit Is cut off with the switch on the rate control which takes precedence over the remote
footswltch. NOTE: BECAUSE OF THE MODULATING ACTION OF THE PHASOR, IT IS A GOOD IDEA
TO KEEP THE PHASE CIRCUIT CUT OFF WHEN NOT IN USE EITHER BY USE OF THE FOOTSWITCH OR
WITH THE FRONT PANEL SWITCH ON THE RATE CONTROL TO AVOID MODULATING THE RESIDUAL
NOISE FROM THE INPUT PREAMP; I.E., CUT THE PHASOR OFF WHEN NOT IN USE.
2.6. MASTER REVERB
To allow additional flexibility, the new reverb system in the VT Series Is arranged in such a way that It
follows the master volume coniroi. Any signal coming from the master volume Is sent to the reverb drive
circuitry, which in turn drives the reverb spring. The signal return is amplified and remixed with the clear
signal and Is applied to the power amplifier which drives the loudspeaker.
The reverb master control determines the amount of gain In the reverb return amplifier Because of the
extremeiy strong reverb drive system, you will find that adequate reverb can be obtained at relatively low
master reverb settings. We have provided significantly more pickup reverb gain in orderto enable deep reverb
effects that might be desirable from time to time, especially when using the reverb for coloration and
enhancement of the phase effect. (Very Interesting combinations can be found by using varying degrees of
reverb when the phase circuit Is operational. When the external footswltch Is plugged Into the rear panel, the
reverb return signal can be turned off or on by the reverb switch.)
2.9. MASTER VOLUME CONTROL
The new VT Series Classic has the all Important master volume. Many interesting effects can be achieved
by using the master volume control In conjunction with the bright or normal gain controls. The most common
of these effects is the creation of harmonic distortion and sustain by setting the front end gain controls at
relatively high settings while running the master volume at relatively low settings, thus activating the smooth
distortion circuitry built Into the unit. The master voiume control aiso affects the noise leVel of the amp. In
studio type environments, where loud palying Is not required, lower settings of the master volume wlli
significantly Improve the noise level of the amplifier making good quailty recording possible.