Peavey Programax 10 - Page 2

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FRONT PANEL FEATURES
Input Jacks (A,B)
The Programax 10 is equipped with two Input Jacks which differ in sensitivity and impedance. The High Gam Input (A) has
considerably more sensitivity than the Low Gain Input (B) and is the input normally used with most instruments, especially when
maximum distortion and overdrive are desired. The Low Gain lnputexhibitsapproximately6dB less gain and is intended primarily
for use with instruments which have extremely high output pickups. “Hot” pickups will sometimes prematurely overload the High
Gain Input Jack causing an unpleasant tonality and harsh overdrive characteristics. Experiment with both Input Jacks to
determine which will best suit your own individual playing style and your instrument’s output characteristics.
Gain Block (C,D,E)
The Programax 10 has been designed using Peavey’s unique Gain Block preamplifier circuitry. The Pre Gain, Saturation, and
Post Gain Controls operate interdependent^ to create a full spectrum of sound, from crisp clean response to fully overdriven
distortion. Experimentation will be required to determine the relative levels of these controls necessary to produce the most
pleasing tonalities.
Pre Gain Control (C)
The Pre Gain Control is similar to a conventional volume control in that it is the first level-setting device in the system. Rotating
the control clockwise increases the gain in the preamp section, therefore raising the volume level of the system.
Saturation Control (D>
The Saturation Control is used to set the operating point of Peavey's unique Saturation circuitry. Saturation is a highly
sophisticated circuit which simulates the gain compression and rich harmonic overload of vacuum tubes. Turning the Saturation
Control clockwise will increase the effect of the Saturation circuit upon the amplifier’s sound.
It must again be noted that the three Gain Block controls interact. When using Saturation, the Pre Gain Control (C) must be
adjusted to a level sufficient to adequately drive the Saturation circuit. Since increasing the Pre Gain will cause the amplifier's
volume level to increase, the Post Gain Control (E) will also require adjustment to control relative volume levels.
Post Gain Control (E)
Within the Programax 10. operation of the Post Gain Control differs somewhat from its traditional role as the overall volume
control for the amplifier. In a typical nonprogrammable Peavey amplifier, the Post Gain Control is used to adjust the overall volume
level of the amp. In the Programax 10, however, overall volume is controlled by the Master Volume Control (L). The Post Gain
Control, therefore, assumes the function of a RELATIVE volume control, and is used to balance the level of each individual
program relative to the levels of other stored programs. Rotating the Post Gain Control clockwise will increase the volume of the
amplifier, but the volume of a program should be compared to the volumes of other programs to achieve the correct balance
between programs. Such comparison will allow relative levels to be established with a high degree of precision
The need for experimentation and comparison to determine the optimum control positions within the Gain Block cannot be
overemphasized, either for establishing a new program or for “fine-tuning" existing programs.
Equalization Controls
The Programax 10 features four bands of equalization which provide virtually unlimited tonal control. The Low. Mid. and High
EQ bands are of the passive type preferred by many guitarists, while the Presence EQ band is active.
Low EQ Control (F)
The Low EQ Control adjusts the tonality for the amount of smoothness and offers extended bandwidth within the lower
frequencies of the tonal range. Care should be taken to not overboost with this control to avoid muddiness and loss of headroom in
the power amp. Extreme overboosting of bass frequencies tends to detract from the projection capability of the amplifier and may
reduce the clarity of lead guitar lines.
Mid EQ Control (G)
The Mid EQ Control adjusts the tonality in the vital midrange frequencies. Rotating the Mid EQ Control clockwise increases the
midrange for the greater degree of “fat" tonalities. The Mid EQ Control operates in conjunction with the Mid Shift Control (H)
described below.
Mid Shift Control (H)
The Mid Shift Control determines the frequency at which the Mid EQ Control (G) operates. It is therefore necessary that these
two controls be adjusted relative to each other to achieve optimu m tonal balance. I n operation, the Mid Shift Control will determine
WHERE the midrange is affected, while the Mid EQ Control will determine HOW MUCH equalization is utilized. Guitarists desiring
bright, clean sounds will generally use little or no midrange equalization, while those desiring thicker, fatter sounds will greatly
benefit from more midrange equalization.
High EQ Control (I)
The High EQ Control varies treble frequencies between the midrange and presence equalization bands. Turning this control
clockwise will increase the amount of treble frequencies in the overall tonal spectrum.
Excessive high equalization can adversely affect the amplifier's tonality if a smooth distorted sound is desired. When working
with programs containing significant amounts of Saturation. High EQ Control settings should be reduced to avoid stridency or
harshness of the overall tone.