Peavey Standard Schematics

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SI'AN DARD

OWNER'S MANUAL

STANDARD

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PRE-AMP:
lNPUT CHARACTERISTICS (Tone conms Ilat. Vol. {6; 1200):
Senstllvity, 30 mV @ I KHz/Inpul Impedance. 330 K Ohms

POWER AMP:
OUTPUT POWER (2; 1 KHz @ 117 VAC Line
Rated Power 130 W RMS at rated Ioad 4 OHMS

Power vs Load. 35 W HMS @ W» THD mm 8 Ohrrs Noise 68 DB Open Ck! 70 DB 50 K Ohms. 74 DB Shun Cm}
130 w RMS @ Wu THD Into 4 Ohms DISTORTION @ 1 KHz: Less than 0 1% THD (Q: RaIed Outpul
80 W RMS @ 1% THD Into 2 Ohms FREQUENCY RESPONSE 3 DB Down @ 20 H2 5. 30 KHZ
PEAK OUTPUT @ RATED LOAD: 8 Amps 8: 32 V 260 W315 TONE CONTROLS: : 20 DB @ 50 Hz 8. 5 KHz

MUSIC POWER OUTPUT @ RATED LOAD 160 W RMS @ 1% THD MIDDLE CONTROL: 20 DB cul'"
FREQUENCY RESPONSE 3 DB Down @ 40 Hz 3 15 KHz MIDDLE SHIFT CONTROL: Variable Mvddle Notch Frequency Shifts!
SENSITIVITY @ RATED POWER 5. LOAD: 700 mV FEVEFIB CONTROL. Connnuoust variable mm foolswnch cul nlt
INPUT IMPEDANCE. 10 K Ohms MASTER GAIN Used m conjunction wilh InpuI volume Io produce ove'dee
DISTORTION CONTROL: Variable harmonic dIsIamon wilh loolswwch culofl
BOOSTER OUTPUT LEVEL: LO V RMS «nlo 10 K Ohms

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Soemhcauons And Schemancs PUDIISheU In This Manual Ana Subjecl To Change Without Notice

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Your new Standard amplifier represents the "state of the art" in solid state amplifiers. Many recent advances in
circuitry. as well as. our Exclusive Automix feature have been incorporated into this unit to provide you with long
and trouble free operation. The flexibility of the tone control circuitry and switching facilities found on these amplifica-
tion systems are unmatched by any other brand of amplifier commercially available.

You have made an investment by purchasing this advanced audio system. To properly take advantage of this in-
vestment. you must thoroughly familiarize yourself with the many features of this amplifier. Below, we will explain the
concept. applications. and the tonal variations available from your Standard amp.

The Standard is not unique in having two channels. but is unique. by featuring a complete switching facility
which allows any combination of the two channels to be used for incredible sustain. overload dynamics, and har-
monic control. By proper use of the switching jacks in coniunction with our exclusive "Automixer" foot switch, almost
any guitar sound can be created. The ability to series or parallel both channels is built into this amplifier. To develop
the full potential of your Standard amp. you must learn the proper use of this professional grade amplification system.

Normal Channel Gain Control

The normal channel gain control ( 1 ) sets the gain of the input preamplifier thereby controlling the sensitivity of
the amplifier. and not the power of the amplifier. It is entirely possible to drive the amp into full power output at very
low volume control settings if the output level from your instrument is high enough,

Please realize that the gain control settings do not indicate power, but only the sensitivity of the preamp. The
circuitry of the input preamps of your standard amp is of the latest variable negative feedback type which has proven
to yield the best possible combination of input impedance. dynamic range. noise. and distortion characteristics.

Normal Channel Tone Controls

These tone circuits are identical to those used in the most popular British made amps and use the same critical
component values to exactly duplicate their action and intonation. The High control ( 2 ) is a passive electronic circuit
that varies the high pass characteristic of this tone control network. The Low control ( a ) is part of a passive low pass
circuit and varies the amount of low frequencies passed through the network. The middle control ( 4 ) varies the mid-
dle "notch" of the modified bridged T" tone control network.

The action of these controls is conventional and should present no problem in achieving proper tonal balance. It
has been found that excessive High boost should not be used when the amp is being used in the series mode
or when the various distortion features ere in use.

Effects Channel Gain Control

The effects channel gain control ( 5 t is exactly like that of the normal channel and uses the field proven variable
negative feedback circuitry for unmatched performance.

Effects Channel Tone Controls

This channel is similar to those used on other Peevey amplifiers and incorporates the most advanced negative
feedback tone networks designed into any contemporary amplifier. The tone circuitry features true out and boost
controls that are able to alter the tonal blend in almost any manner. It should be remembered that this type tone
circuit is actually a form of electronic crossover end that the tone controls ere actually volume controls for
their particular frequency bands. Some very interesting effects can be found by using the tone controls as master
gain controls" for their particular frequency hands. This may be accomplished by turning normal gain up close to
maximum. while setting the tone controls in the cut" or counter~clockwrse posttions. Variation and experimentation
will illustrate the many different sounds available from this method of operation, The High control ( 6 ) is part of an
electronic crossover circuit and enables boost in the right hand (clockwise) posnions and cut in the left hand (counter-
clockwise) positions. When these controls are in the center or straight up if2 o'clock) posrtions. the Low and High
controls are flat. The action of the Low control ( 7 ) is similar to that of the High control except that it affects the bass
range of frequencies. The middle control ( a ) is of the "out only" type and serves to give the characteristic middle
notch so necessary for proper tonality. When the middle control is fully clockwrse, no middle cut takes place and the
middle is unchanged. Any rotation from the fully clockwise setting results in more middle cut it has been found that
our extremely effective middle control is able to give the "punchy" sound so popular in today's music. By cutting the
mid-range slightly. we are effectively boosting the two frequency extremes at the top and bottom ends of the frequen»
cy spectrum.

The middle shift control ( 9 ) enables the guitarist to select the particular frequency range that he wants to cut in
the midrange spectrum. This means that he can change and vary the total sound characteristics of the amplifier simp»
ly by turning a single control. The shift control operates only when the middle is in the cut position.