OPERATING GUIDE Congratulations! You are the owner of the most advanced. medium powered tube-type amplification systam availabe in today's marketplace, The new Peavey Classic® V1X represents many yeare ot manutaeturing ang production experience combined with the most Up-to-date developments in tubestype technology and siate-ot-ihe-art electronics ‘We have included many new and unique features and design innovations to make the Classic® a truly exceptional amp snd one that should delightany serious performing musician. The ovorall operation ofthe Classic i lary staightiorwarc, yetcomplex enough thatit Should be studied and practiced just a any musical instrument would Be Wo recommend that you thoroughly read and understand this operating guide so that you may enjoy tothe fullest the benefits anc ‘capabiiies of this advanced system: The fst step in realizing the potential the Ciassice VIX isa baste understanding ot Row signal figs through the system from ine guitar to the loudspeaker: We have included a basic block diagram of he signal low through the CCiassic™ for this purpose.i SIGNAL FLOW BLOCK DIAGRAM SIGNAL FLOW “Tho signal flow chart indicates that the Classic® is basically a two-channel system (lead and normal channels) with two main jectonissoctone (preamp and power ab). When signal's nrocuced trough ether righ orlow gaininpU jake ares nee Brean section wheat tnpuogand proseoedn Both ad aneme chants eect al eng gATURAION, iceajetsrny oe added to hesgraly nay may Be nypasod Note rat nthe norl chal nly pul pat atect canbe acted Ehsnal rom both channels enters the AUTOR chanel switching creulery which is controlled by s remote foatswitsh. I the lead hana! selgotd he signal rom tat channel ONLY enters the our-band equallet on circuitry. From mare ttravee through Ihe post Gain centro other effects sugh as reverb and phaser and then into the power ampiior The power smpiie hen delvers an amplified Signal to deve te Scorpion” loudspeaker ‘You might wonder why itis so mportant to know about signal flow. Notice on the chart that te signal MUST flow through the soctlona Containing ino €S phaser, ana rove’. Ths elle you tat these temures are svalabi2on BOTH lead ano normal channels. Now, totes hat SATURATION and nik ae poct ator the wad channel pre gain and pre (before) Ine AUTOMIX™ These two features may nly Be operated through the lead chante leave study the flow chert. Since each conto interacts and therefore has an effect on other controls. a complete understanding of ‘signe ow ail kao to mata ulation of me Classe e® advanced leatures and capabiies We nave also included several charts 0 Reijou some beste conta setngs mith which {o bogin. Sight modifications fo tess stings May be necessary fo ut yOUT own indivlcua tastes and periorming requirements Following ian explanation ol each contros purpose and operation. Experimentation with each contro! wl ad in an overall understanding ot your sow Classi FRONT PANEL INPUTS (A) (6) “Ihe Giassic® VIX provides two input jacks, each having diferent sensitivities and a unique arrangement allowing tne gan of both inputa tbe aqualzed when instruments are pisgged ino Both jacke smultanegusiy. ome “Tne high gain jack (A) has considerably more sensiivty and input impedance than the low gain jack (8), ands the input normaly used wtf Soot inetruments, especialy when masamom sitorson ane overdrive are desired “ie low gin jack exh is approximately 6d les gain ands intended primary tor use with instruments whichhaveextremelyhigh cusp ape “Hot plekupe wi sometimes prematurely overaud te high gun input ck couing an angles tonal anharsh ‘ou shoulgexperment wih both nputjacksta termine which Wl best @ultyour own india eayng yea your armen ‘urput characterises "The dilference between the two jacks may be geen by plugging into the hich gain jack and setting the gain of the amp to an appre etic ce etree om gale face, Bony curete eave bot ampand inerument gain a reseme stings. Re overall system gain wil now Be lower and you will notes & decrease In volume. LEAD CHANNEL GAIN BLOCK™ The Classic hasbeen destned ung Pome’ raw GAIN SLOCK™ lor procasing ont end arcu The the interacting contols prettde loi contro! ofthe amp’ gain structure (éynamics), harmonic content, overload feature and output level. Each ofthe throe controls must be understood and experimented with inorder to utilze the potenti! ofthis specialized circuit Nota ino SIGNAL FLOW BLOGR DIAGRAM whare each of these controls als ito the flaw pattern The setting of each contro wil Interact and have an efect on the setion of ihe oiher controls. PRE GAIN/PULL BRIGHT (c) “The lead channel pre gain contol is similar o @ conventional volume control in that it i the fst level setting devi nthe system. Operation a ris contol convention even tough we assoolate circu cquitsafterent fom older, ctl passive units, Please be Share na this contol exhibsts the protessionalioga mie (euste) taper, having approx\mately onfourth ofthe gain achieved atthe 2 Sock positon wih the emander being obtained ae the contol is relate clockwise. This ogarthmlc action signieary increases the Simountol cont? lattage™avalasie: Fetatng the contol clockwise increases the ga the Classic ce prearpsectionand nusraises ‘he volume fovel of the systom anc apteguincontlale tse anitegr! puletch wich soa signticantbool(Sd8ote high recurs be eee his high fescueney boost givos'9 nice “edge” o clean playing siyles. However, experience has prover that this high boost fends dove Corona Ror tne Snosth overioad charastosies wren payin tnedstorohmode Thepullbightswtch spoua hertore £6 inils of [pushed in} poston when the smoothest eistorton characteristics are desired SATURATION™ (0) This conto is he element for song the operating pono our new (tent ppd fo] and nique SATURATION cc SATURATIONS isa very sophisticated clcut Sat synthesizes the action 6 vacuuie tubes alos) when they afe overdrven. The SATURATION™ cect Oberatos miihn he preamp secon anc exhibits more effect as the controls rotated clockwise, ‘The SATURATION" contol myst be balanced wih appropriate stings of he pe and pest gan contals to plain opin esl “The gun Sena mnust beset highonouatyio provide adequatedivevollageta tne SATUAATIONe reuitry whilotne SATURATION aio! hme aie the ened oa chracotes the post ga coo hen set oacve he dsr eupteel ane armonie textureLy Ox eee Joo ojolooooloolo] gy, Lil ] ] ] © © ¢ o> ® GN tiie TOTAL SOUND OF THE AMP AS THE NORMAL OVERLOAD CHARACTERISTICS OF THE TUBE POWER AMP SECTION COME INTO EFFECT. POST GAIN (€) “Tne post gain contro sets the input sensitivity and output evelof the Classi’s"*leadgain block. The action ofthis controls similar to _amatiervoluie contro! anc can be ised to dete‘rine the over/oad dyamics af the lead gain block section by decreasing the sensitivity the power arep. Rotating tne control Clockwise increases the sensitivity of te power amp and! te overall volume level ofthe system. For clean playing styles within the leac gain block, this control should be operated near or atts maximum setting, When distortion is desifed. the setting of the control becomes Even more. portant. For optimum SATURATION™ effects and smoothest distortion Gharactergics the control should be set at "5" or lower. Sefings higher than "S" may create an overload situation within the tube-type power amp section adcing addtional harmonics and overload textures. Experimentation with this contol will determine which setting fil best suit your naive playing style NORMAL GAIN/PULL BRIGHT CONTROL (F) "The ‘ermal gain controls the amount of amplificstion in the normal channel. This normal channel is connected through our AUTOMIN® Satching System and simultaneously acts ass own master volume control fr the “clean” output level, The normal gain ESntrols simar in operation to the pre gan contol in the foad chanel except (hati feeds straight into the tone circus instead of fatough Ihe SATURATION cireunty The channels promded fo enable ether a SATURATION" type sound [distortion ara “clean” Sound'to be obtained and velaciod fomotely through the AUTOMIX™ system NOTE THE NORMAL CHANNEL CAN BE SELECTED BY THE REMOTE SWITCH ONLY, ‘The normal channel aio features «pull boost switch forthehigh frequencies enabling Bo! high requency boost This brightness capability agniicanly extnnces ine ugetuiness of he normal chanel Goneray. tre normal channel is used for clear’ paying, while Siena Channel {with SATURATIONS) recommended for saying inthe distetion mose EQUALIZATION ‘Your new Classie# features unique 4-band equalization cituitry which wil provide almost unlimited tonal variations. The low. mi ‘and high bands are of the passive type prelerred by most rock guarists with the fourtn band being an “active” presence control ‘The presence contro! effects an extremely high band of frequencies and is placed ata very precise point within the frequency speeuittoaitersnoathditcrgwean edge ovtaltonaly sjeauredby say igi, aria’ gut andor plying ectnaue {feel that tis combination ot aetws and sssive fone ciculy results in far more satisactory performance than eer active or passive alone Low ea (a) ‘The low frequency control determines the low frequeney response of the amplifier, Rotating the contrlelockwise increases low-end (base) Tesponse NOTE TO AVOID PREMATURELY OVERORIVING THE POWER AMP, CARE SHOULD BE TAKEN NOT TO OVERBOOST THE [QWEND. With GUITAR SIGNALS, EXTREME BASS BOOST DOES NOT ADD SIGNIFICANTLY TO THE PROJECTION CAPABILITIES OF THE AMP. AUT DOES CONSUME A DISPROPORTIONATE AMOUNT OF THE AVAILABLE POWER, GSUACLY AT THE EXPENSE OF THE MID AND IGH FREQUENCIES. MID FREQUENCY EQ CONTROL (H) "The mid E control determines tne levelof the vital midrange frequencies. Our research indicates thatthe midrange isatten the most important (and evelggkea) ‘ange frequencies Tis midnand's wnat aciualy makos guarsand ams sounc the way they do, The Sxlremes of highs and lows sometime neve minimal effecton the overall tonal color, white those frequencies we cal the midrange really fake the vitaluiference between merely a'good and a prest sound. The midale Irequency €Q control will enable tremendous tonal Lariston apd desing cinta samy mit ecthinelon EGana henighE@conle. Thsinsractonoroverappirgactonenabes fenalose subte tonal shadings" to bo achivod “The action of te middle controls conventional with increasing midrange response asthe controlis rotated clockwise. This contrlis very elective in determing the overall gator" of the sound when Using Ine SATURATION'/overload features of the amp. Generally. a uch shiekor” and Yattor-sound ts cbtamnable when more mid boost used for hardrock. For clean country/jazz playing more mic cut (Plsvally Btler "tn any case. this EQ works and shoUld be used to fine une the overall low and high EG fo produce the Jesied tonal olor HIGH FREQUENCY EQ/PULL THICK CONTROL (1) This contro elerient determines the amount af high frequency boost inthe output signal. The action ofthis control is conventions} with an increasing amount of ign Boost abtained ag the control is rotated clockwise. This high EQ circuits extremely effective ana ‘Should provide more than enough tonal vanation far achieving almost any amourt of top end” required. "when playing hard rock, itis usualy not a good idea to use maximum high end boost since excessive highs tend tomakethe smooth overload characteristics of the amp somewhat more sirident and hard than is usually desirable