Peavey Classic VTX Series User Manual

NOTE
IT SHOULD BE REMEMBERED THAT THE SATURATION’- EFFECT TAKES PLACE WITHIN THE PREAMP SECTION.
WHEN THE PRE AND POST GAIN CONTROLS ARE OPERATED AT OR NEAR MAXIMUM SETTINGS, AND THE AMP
APPROACHES MAXIMUM OUTPUT, THE SATURATION'" CIRCUIT WILL HAVE CORRESPONDINGLY LITTLE EFFECT
ON THE TOTAL SOUND OF THE AMP AS THE NORMAL OVERLOAD CHARACTERISTICS OF THE TUBE POWER AMP
SECTION COME INTO EFFECT.
POST GAIN (E)
The post gain control sets the input sensilivity and output level of theClassic's r “ lead gan block. The action of this control is similar to
a master volume control and can be used to determine the overload dynamics of the lead gain block section by decreasing the sensitivity
of the power amp. Rotating the control clockwise increases the sensitivity of the power amp and the overall volume level of the system.
For clean playing styles within the lead gain block, this control should be gperated near or at its maximum setting. When distortion is
desired the setting of the control becomes even more important. For optimum SATURATION ™ effects and smoothest distortion
characteristics the control should be set at ,, 5" or lower. Settings higher than " 5 " may create an overload situation within the tube-type
power amp section adding additional harmonics and overload textures. Experimentation with this control will determine which setting
will best suit your individual playing style.
NORMAL GAIN/PULL BRIGHT CONTROL (F)
The normal gain controls the amount ol amplification in the normal channel. This normal channel is connected through our
AUTOMi X ™ switching system and simultaneously acts as its own master volume control for the “clean" output level. The normal gain
control is similar in operation to the pre gain control in the lead channel except that it feeds straight into the tone circuits instead of
through the SATURATION ™ circuitry. This channel is provided to enable either a SATURATION ™ type sound (distortion) or a ’ clean
sound to be obtained and selected remotely through the AUTOMIX'*' system.
NOTE
THE NORMAL CHANNEL CAN BE SELECTED BY THE REMOTE SWITCH ONLY.
The normal channel also features a pull boost switch for the high frequencies enabling 8dBof high frequency boost. This brightness
capability significantly enhances the usefulness of the normal channel Generally, the normal channel is used for “clean” playing, while
the ead channel (with SATURATION ™ ) is recommended for playing in the distortion mode.
EQUALIZATION
Your new Classic® features unique 4-band equalization circuitry which will provide almost unlimited tonal variations The low. mid
and high bands are of the passive type preferred by most rock guitarists with the fourth band being an “active* presence control.
The presence control effects an extremely high band of frequencies and is placed at a very precise point within the frequency
spectrum to either smooth out orgive an edge tooverall tonality as required by playing style, a particular guitar, and/or playing technique.
We feel that this combination of active and passive tone circuitry results in far more satisfactory performancethan either activeor passive
alone.
LOW EQ (G)
The low frequency control determines the low frequency response of the amplifier. Rotating the control clockwise increases low end
I bass) response
NOTE
TO AVOID PREMATURELY OVERDRIVING THE POWER AMP. CARE SHOULD BE TAKEN NOT TO OVERBOOST THE
LOW END. WITH GUITAR SIGNALS. EXTREME BASS BOOST DOES NOT ADD SIGNIFICANTLY TO THE PROJECTION
CAPABILITIES OF THE AMP BUT DOES CONSUME A DISPROPORTIONATE AMOUNT OF THE AVAILABLE POWER
USUALLY AT THE EXPENSE OF THE MID AND HIGH FREQUENCIES.
MID FREQUENCY EQ CONTROL (H)
The mid EQ control determines the level of the vital midrange frequencies Our research indicates thatthe midrange is often the most
important (and overlooked) range of frequencies. This midband is what actually makes guitars and amps sound the way they do. The
extremes of hiqhs and lows sometime have minimal effect on the overall tonal color while those frequencies we call the midrange really
make the vital difference between merely a good and a great sound The middle frequency EQ control will enable tremendous tonal
variation and is designed to interact slightly with both the low EQ and the high EQ controls. This interaction or overlapping action enables
endless subtle tonal “shadings'* to be achieved.
Theaction of the middlecontrol is conventional with increasing midrange response as theconlrol is rotated clockwise. This control is
very effective in determing the overall "color" of the sound when using the SATURATlON’“/overload features of the amp. Generally, a
much "thicker” and ‘fatter" sound is obtainable when more mid boost is used for hard rock. Forcleanccuntry/jazz playing, more mid cut
is usually better In any case, this EQ works and should be used to fine tune the overall low and high EO to produce the desired tonal
color
HIGH FREQUENCY EQ/PULL THICK CONTROL (I)
This control element determines the amount of high frequency boost in the output signal The action of this control is conventional
with an increasing amount of high boost obtained as the control is rotated clockwise. This high EQ circuit is extremely effective and
should provide more than enough tonal variation for achieving almost any amount of “top end 1 ’ required.
When playing hard rock, it is usually not a good idea to use maximum high end boost si nee excessive highs tend tomake the smooth
overload characteristics of the amp somewhat more strident and hard than is usually desirable.

Peavey Classic VTX Series Specifications

General

Brand	Peavey
Model	Classic VTX Series
Category	Amplifier
Language	English