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Peavey DEUCE - Page 2

Peavey DEUCE
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The
new
Deuce
is
the
latest
of
this
series
and
now
contains
the
features
so
often
requested
on
previous
models
in
the
Deuce
series
as
well
as
the
many
circuit
refinements
resulting
from
our
con-
tinuous
engineering
efforts
and
field
testing.
Automix
is
now
stan-
dard
in
this
new
Deuce
series.
The
Deuce
power
section
is
powered
by
Four
extremely
rugged
and
field
proven
RCA
6L6GC
tubes
(valves)
in
a
push-pull
paralleled
vatively
rated
120
watts
RMS
@
5%
THD.
The
massive
power
supply
consists
of
a
custom
built
power
transformer
delivering
energy
to
series-stacked
filter
capacitors
for
the
ultimate
in
reliability
under
field
conditions.
Because
we
have
chosen
to
build
a
larger
and
better
regulated
power
supply
than
found
in
competing
units,
the
Deuce
en-
joys
a
substantial
advantage
in
music
power
that
is
quite
noticable
when
compared
to
ordinary
transformer
matches
the
tubes
to
the
speakers
and
allows
conser-
vative
operation
of
the
four
output
tubes
well
within
the
tube
manual
specifications.
The
Deuce
is
a
fully
professional
portable
amplification
system
utilizing
the
latest
in
cir-
cuitry
to
give
you
all
the
needed
features
in
a
reasonable
package.
The
versatile
Deuce
series
is
available
with
several
different
speaker
combinations
to
allow
for
circuit
that
delivers
a
very
conser-
amplifiers.
The
special
output
personal
speaker
preferences.
Your
new
Deuce
features
two
channels,
“Effects”
and
“Normal”
with
four
inputs
that
function
along
with
the
Automix
footswitch
to
allow
you
to
play
through
either
channel,
both
channels
in
parallel,
both
channels
in
series.
Please
read
the
explanation
of
each
input
and
become
familiar
with
the
effects
possible
with
the
Automix
footswitch
1
The
Effects,
input
places
the
signal
from
your
instrument
into
the
effects
channel
only.
2
The
Normal
input
places
the
signal
from
your
instrument
into
the
normal
channel
only.
3
The
Parallel
input
places
the
signal
from
your
instrument
into
both
channels.
Plugging
into
this
parallel
jack
is
the
same
as
using
a
patch
cord
to
bridge
into
the
normal
and
effects
channels,
except
that
the
in-
ternal
circuitry
automatically
performs
the
patching
function.
When
plugged
into this
jack,
both
normal
and
effects
channel
gain
controls
are
active
and
the
desired
blend
of
each
can
be
found
by
varying
the
level
ofeach,
relative
to
the
other.
4
The
Series
input
places
the
signal
from
your
in-
strument
into
both
channels
in
series.
By
placing
the
channels
in
series
incredible
sustain
and
overload
har-
monics
can
be
generated.
Experimentation
with
various
combinations
of
gain
control
settings
will
yield
an
infinite
variety
of
harmonic
characteristics
and
sustain
durations.
These
functions
can
be
used
in
conjunction
with
the
master
gain
control
to
avoid
driving
the
power
amplifier
to
full
output
while
seeking
the
desired
effects
enabling
the
operator
to
obtain
sustain
and
overload
effects
at
very
low
volume
levels,
such
as
these
required
in
some
studio
applications.
EFFECTS
CHANNEL
5
The
effects
channel
gain
control
sets
the
gain
of
the effects
channel
preamp,
thereby
controlling
the
sensitivity
of
the
preamp,
not
the
power
of
the
amp.
Itis
entirely
possible
for
the
amp
to
be
driven
to
full
power
output
on
very
low
volume
settings
if
the
signal
from
your
instrument
is
extremely
high.
6
The
treble
control
varies
the
high
end
response
of
the
effects
channel.
7
The
middle
control
enables
the
mid-range
response
to
be
tailored
to
give
the
amp
that
“punchy”
sound
so
popular
in
today's
music.
Experimentation
with
this
unique
middle
circuit
will
show
that
it
is
much
more
effective
than
conventional
circuits.
8
The
bass
control
varies
the
amount
of
bass
response
in
the
system
and
is
very
effective
in
achieving
a
balanced
tonal
blend.
9
The
depth
control
is
used
to
vary
the
amount
of
amplitude
modulation
(tremolo)
of
the
output
signal
The
operation
of
this
control
is
conventional
and
should
present
no
problem
in
adjusting
for
the
desired
effect.
10
The
rate
control
determines
the
speed
with
which
the
signal
is
modulated.
This
control
varies
the
speed
of
the
tremolo
master
oscillator
and
should
provide
any
speed
desired
for
modern
music.
NORMAL
CHANNEL
11
The
normal
channel
gain
control
determines
the
sensitivity
of
the
normal
channel
preamp.
This
con-
trol
works
in
the
same
way
as
the
effects
channel
gain
control.
12
The
normal
channel
treble
control
varies
the
high
end
response
of
the
normal
channel
preamp.
13
The
normal
channel
bass
control
varies
the
amount
of
low-end
response
in
the
normal
channel
preamp.
MASTER
SECTION
14
The
master
reverb
control
determines
the
amount
of
delayed
signal
(reverb)
blended
into
the
out-
put.
The
master
reverb
control
is
effective
on
both
channels
and
is
remotely
switchable
by
use
of
the
Automix
footswitch.
15
The
master
gain
control
is
very
useful
for
ob-
taining
a
number
of
effects.
The
most
common
use
of
this
control
is
for
obtaining
overdrive
and
sustain
at
low
sound
levels.
Another
valuable
use
for
this
control
is
for
controlling
the
response
and
noise
of
the
amp
in
a
recording
studio.
The
master
gain
control
is
the
final
gain
deter-
mining
element
before
the
signal
is
fed
into
the
output
amplifier
and
could
more
acourately
be
called
a
“sen-
sitivity”
control.
To
obtain
maximum
overdrive
and
sus-
tain,
the
individual
channel
volume
controls
should
be
set
near
maximum,
and
the
output
of
the
system
should
be
adjusted
with
the
master
volume
control.
16
The
pilot
light
indicates
when
the
electrical
supply
(mains)
is
supplying
power
to
the
amplifier.
17
The
fuse
is
located
within
the
cap
of
the
fuse
holder
and
should
be
replaced
with
one
of
the
proper
value
if
it
should
fail.
It
is
necessary
that
the
proper
value
fuse
be
used
to
avoid
damage
to
the
equipment
and
to
avoid
voiding
warranty.
If
your
amplifier
repeatediy
blows
fuses,
the
unit
should
be
taken
to
a
qualified
ser-
vice
center
for
repair.

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