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Pearce g1 Guitar Amplifier SCH

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389 views39 pages

Pearce g1 Guitar Amplifier SCH

Uploaded by

Alain Delon
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
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PEARCE ELECTRONICS, INC. and GiB GUITAR NPLIFIERS OWNERS MANUAL NOTE: PLEASE READ THIS MANUAL If you don’t, you will probably waste auch more tine than it takes to read the manual. Study the instructions and the block diagram. They will help show you a logical. straightforward approach to obtaining the sound you want, with @ minimum amount of noise, mistskes, and frustration. Revised 11/3/86 PEARCE G1 OWNER’S MANUAL SAFETY RULES 1. To prevent electric shock, do not open the unit. There are no user-servicable parts inside the unit. Refer servicing to qualified technicians. 2. To prevent fire or shock hezerd, do not expose the unit to rain or excessive aoisture. 3. Use a grounded outlet whenever possible. A shock hazard say otherwise result, especially when the unit is connected to other equipment. 4. Always be certain that the voltage selector awitch is in the correct position before connecting the AC power source and before turning the power on. 5. Do not operate the unit in an excessively hot environment - permanent damage nay result. It is designed to operate in ambient teaperatures of up to 120 degrees F (49 deg.c). If you are using the unit in an equipsent rack in conjunction with other heat-producing equiprent, we reconmend adding a cooling fan. 6. Do not connect speakers totalling less than 4 ohms impedance. Under sone circumstances, such as very clean and “punchy” playing atyles, it may be practical to drive loads as low as 2 ohms, but always consult the factory before doing so. There are no problems created by using the amplifier without a er connected. PEARCE ELECTRONICS, INC. WILL NOT BE RESPONSIBLE FOR DAMAGE DUE TO VIOLATION OF THESE SAFETY RULES TWO_YEAR LINITED WARRANTY Pearce Electronics, Inc. warranta the G1 to be free from defects in aaterials and workmanship, and agrees to repair or replace any unit that fails to perfora specified for a period of two years after the date of purch Send in the Warranty Registration Card (lest page) within two weeks of your purchase in order to validate this werranty. Please consult the factory for return authorization on any unit requiring repair. You are responsible for paying postage to return the unit to us; we will pay the postage for returning the repaired unit to you. You all of the packing materials in which your emplifier was delivered in order to make any return shipments. Thia warranty shall not apply to: 1. Units which have been subject to misuse, negligence, accident, or used otherwise than in accordance with the inatructions provided by Pearce Electronics. 2. Units which have been repaired, modified, or tampered with by persons not specifically authorized by Pearce Electronica. 3. Speakers, which are covered separately by the specific sanufacturer’a warranty. Furthernore, Pearce Electronics reserves the right to make any improvements in the design or construction of its equipment without any obligation to make any change whatever in units previously delivered. Write your unit’s serial number here for future reference: PEARCE G1 OWNER’S MANUAL OPERATING INSTRUCTIONS. First and foremost, please be both patient and adventurous when searching for new sounds. Considering the great variety of sounds the G1 will produce, every setting may not give the most desirable results. The purpose of this manual is to help you to find the settings that work best for your style of playing. There are 3 basic operating nodes most commonly used with the Gl. Decide which aode is most appropriate, then follow connection inatructiona (-->). MODES OF OPERATION I. NORMAL 2 CHANNEL (UNSWITCHED) MODE Without a footswitch connected, both channels are active. Using “Chi and “Ch2" inputs, the G1 can be used in e manner sinilar to ost other 2 channel (non-channel switching) amplifiers - keeping in mind the two “master” VOLUME controls, and 3 REVERB controls. By using the ‘Chi+Ch2" thi: de can also be to blend in in icker™ or for adding effects verb to only a portion of the sound. For exaapl. you could dial in a very austained, “trebly" sound, with lots of reverb and chorus on chennel 1, end blend it with a very punchy sound with lots of bass on channel 2. Be sure to turn the DRIVE and VOLUME controls on any unused channel to “O". --> Connect instrument(s) to appropriate input jack(s). Proceed with “Getting 4 Sound, pg. 4. II. MONO SWITCHED MODE This is the most commonly used mode - switches a single, mono wired instrument to either of the two channels. Effects devices inserted into OUT TO EFFECTS - IN FROM EFFECTS jacks will be switched in and out along with their respective channel. Effects devices inserted into LIMITER OUT - PWR AMP IN jacks will function on both channels, --> Connect instrument to "Chi+Ch2" input jack and connect footswitch to CHANNEL SELECT FOOTSWITCH jack. Proceed with "Getting a Sound”, pg. 4. III.STEREO SWITCHED MODE Each channel has its own input, effects devices are switched the same as in Mono Switched Mode. Use this node with 2 seperate inatrumenté, guitars with stereo outputs, or double neck guitars with seperate output for each neck. --> Connect instrument(s) to “Chi” and “Ch2" input jacks. Connect footawitch. Proceed with “Getting a Sound", pg. 4. NOTE: There are several other nodes of operation available to the Gl owner. These include: driving one channel into the other, driving a “sl amplifier/speaker with one or both channels for stereo effects, etc. “Sound Charta" are included at the end of this manual to give you a head start on sone of the more popular control settings. Refer algo to the section on “Patching end External Effecte”. i. GETTING A SOUND After connecting instrurent(s) and footswitch, decide which channel will be used to produce the most sustain/distortion (usually channel 1), and select that channel with footswitch (or plug-rounted channel switch). Start by centering BASS, MIDRANGE, end TREBLE controls, then set VOLUME control to about “2". Set node (BOOST/NORN) switch to NORM and increase DRIVE control until you get the desired amount of sustain and distortion. If DRIVE setting of "10" doesn’t give you enough “bal, lower DRIVE setting to “O", set node on BOOST, and increase DRIVE setting again. Now you to adjust tonality, and VOLUME to adjust the loudn NOTE: This procedure assumes that you desire at least a amall amount of “tube distortion". If you want a “clean as possible” sound, instead of the procedure in step 1, start with VOLUME control at about "8" ("10" if you also want it as loud as possible, but still clean) then incr DRIVE control to obtain the desired loudness. BE SURE TO START WITH DRIVE CONTROL AT nd gradually increase. Also consider using the limiter (page 5, step #6). Note also that the VOLUME setting can control must be set to at least "7" liaiter) to obtain full output power. ~ ffect the power output; the VOLUME proximately; higher when using the The “Chi+Ch2" (middle) input has been provided with a +/-10 dB gain switch to compensate for instruments with very high or very low output voltage. A. Test for input overload: Select a channel, set the mode switch on NORM, the DRIVE control to about “3”, then set the volume and tone controls on the instrument to mexinun. Bang out a few chords while setting the VOLUME control to a reasonable level. If you notice a nasty crackling, set the +/- awitch at "-10 d Also note that sone instrurents with active electronics can overload theaselves - especially when the batteries are getting low. B. If you don’t get enough “balls” even with the DRIVE control at “10" and the mode switch on BOOST, try setting the +/- switch at “+10 dB". If you don’t encounter either of these two problems, leave the +/- switch set at "Oo"; all three inputs will then have the same gain. Adjust’ BASS and TREBLE controla to taste. Experiment with MIDRANGE and FREQ controls - MIDRANGE controle the amount of boost or cut, FREQ controls what portion of the musical scale is sost affected by the MIDRANGE control (over a 5 octave range). Refer to the block diagram on page 8 Note that: A, MIDRANGE is a boost/cut control, therefore, if this control is centered ("0") the FREQ control will have no effect. B. The MIDRANGE controls are before the distortion circuit. Thus, the MIDRANGE and FREQ controls will influence which notes distort the moat in proportion to other notes. For example if the MIDRANGE is set at “+5” and FREQ is set at “100 Hz", the low notes will be much more distorted than the high notes. In this manner, these controls can be used to make a portion of the scale distort/sustain less (MIDRANGE -5 to -1) or more. (MIDRANGE +1 to +5). Also note that after setting the MIDRANGE and FREQ controls, the DRIVE control nay have to be readjusted to naintain the proper amount of distortion/sustain. PEARCE G1 OWNER’S MANUAL. GETTING A SOUND - cont’d 4. Switch to the other channel and repest ateps 1, 2, and 3 for that channel. 5. Decide which channel will have the most reverb, switch to that channel, and set that channel’s REVERB (send) control to about “8". Set the MASTER REVERB (return) control for the desired amount of reverb. Switch to the other channel and adjust thet channel’s REVERB (send) control for desired amount. Your goal ia to always use the most “send” and the least “return” possible. This will insure the lowest noise and the highest immunity from “reverb crash” when the unit is accidentally buaped or vibrated. --> NOTE: I€ you are not using reverb, turn all 3 REVERB controls to “ 6. LIMITER: The limiter is used for two main purposes: to allow cleaner sound at higher volume, and to increase sustain, especially with a cleen sound at moderate voluae. The THRESHOLD control acts as a “maximum power” control; when it is set at “-9", the maximum output is 1/8 of full power; at the power amp can be overdriven by 2:1, (with a 9 or 10 VOLUME setting). To limit distortion at maximum playing voluse, set the THRESHOLD control at about to “*6" (the higher the VOLUME setting, the lower the THRESHOLD setting you will need to use.). To add sustain, increase VOLUME setting (on the correct channel!) and set THRESHOLD according to meximum volume desired. Increasing the VOLUME control will then stert to have less effect on loudness, but it will increase sustain. The THRESHOLD control will start acting like a volume control. Some juggling of the THRESHOLD and VOLUME controls should result in the proper corbinetion of level and sustain. Note that, since distortion adds a lot of compression of its own, the limiter will have auch 1 effect with a highly overdriven sound. PATCHING & EXTERNAL EFFECTS In general, the nost useful way to approach connecting the G1 to other device 4s to consider it as a group of interconnected “building blocks", i.e. the input mixer, the two preamplifier sections, the output aixer, the reverb section, the limiter, and the power aaplifier. Careful study of the block diagram should allow you to find a way of connecting external devices to achieve excellent results. There are several ways that effects devices are most often used with the G1. First is the usual arrangement of using the effect between the instrument and the aplifier. This configuration can lead to increased hum and noise, as well as degraded treble response due to the effect(s) loading the instrument. Using one of the Gi’a three effects loops should iaprove the performance. If you want the effect(s) to function on both chennels, use the LIMITER OUT and PWR AMP IN jacks. Jé you want the effect(s) to be autoaatically awitched in and out along with the channel, use the appropriate OUT TO EFFECTS and IN FROM EFFECTS pair of jacks. These jacka are “normalled" together - the signal norrally flows right through the jacks, but you can interrupt the signal flow by inserting @ plug. ALL three pairs of jacks are norselled together in the seme manner - inserting a plug into the upper jack will not break the noraelling connection and inserting « plug inte the lower jack will break the normal. This configuration of the effects loop jacks can be used to accomplish several things: PEARCE G1 OWNER’S MANUAL PATCHING & EXTERNAL EFFECTS - cont’d 1 3. To use with effects, simply connect a cable from the LINITER OUT, or one of the OUT TO EFFECTS jacks to the input of the effects device. Connect another cable from the output of the device to the appropriate IN FROM EFFECTS or PWR AMP IN jack. Note that this second cable breaks the normal connection, To drive a slave amp/speaker or P.A. mixer use the LIMITER OUT jack. This output will drive an external 600 ohm line without interfering with the normal operation of the Gl. If you wish to drive an external device, mixer, etc. with only one channel, use the appropriate OUT TO EFFECTS jack. Note that this leaves the norral connection intact. The two OUT TO EFFECTS jacks can also be connected to a stereo power amplifier (or one of them connected to a mono power amp) in order to end up with a full stereo systen. Note that the reverb signal is not present at these outputs. One of the moat comaon connections is to patch channel 1 to a separate amplifier and speakers for leads. (insert a “duany" plug into Channel 1’s IN FROM EFFECTS jack to prevent Channel 1 [lead] from feeding the Gi’s power amp (rhytha]) Then the reverb, limiter and power aaplifier sections will operate on channel 2 (chytha), Algo note thet any REVERB added on the lead channel (1) will appear on the rhytha channel (2) speaker: There are many other patching configurations that can be created using your imagination and resourcefulness. Consult us regarding any questions you may have. GENERAL NOTES: The Gl is equipped with 2 different kinds of distortion. Channel 1 features a circuit which is optimized for most solo applications. This distortion, when used at high drive levels, has a smoother sound, noat similar to a highly overdriven tube amp. The distortion in Channel 2 is designed to emphasize even harmonics, thereby producing a warmer, softer sound (when used at moderate drive levels). It is especially useful for Jazz and rhythm applications. Note, however, that both channels still have BOOST and NORMAL modes, and you should experiment with several combinations to determine which works best for you. The effects loops are intended for use at “line level", and with devices having approxiaately unity gain. The voltage level at all three sets of patching jacks is about 0.1 volt to 1 volt nominal (-18 to +2 dBa). It may go as high as & volts (+20 dBm), especially when using the liniter with the VOLUME controls set very high. Check to see if this causes excessive distortion in the effect Many effects devices are now being designed with internal line/instrument level switches. Some also have input attenuators (pads), which should be able to prevent distortion, but they might not have output level controls which allow then to make up for gain lost by the input pad. Check to ses if your effects have these features; if not, many devices can be easily modified. The most common problens associated with equipment of this type are related to jacks, switches, controls, etc. - not transistors, I.C.’a, etc. Periodically (weekly to monthly) clean the plugs on your guitar cords with contact (TV) cleaner (available at Radio Shack, etc.). Spray a small amount on a plug, and repeatedly insert it into each of the input and patching jacks. It is also a good idea to periodically flip all of the switches several tines and rotate all of the controls through their range (especially the ones you never budge). PEARCE G1 OWNER’S MANUAL NOTES - cont'd 4. 5. 6. a. 10. ci 12. There are sone effects devices which aust be used in a certain position in the signal path to produce the desired effect. For example, the addition of an external compressor is usually intended to smooth out the attack and add sustain without adding distortion; it must be used between the instrument and the plifier in this case. Equalizers, phasers, flangers, etc. will have nore effect than usual when used in the effects loops because of the harmonics which have usually been generated by the Gi’s distortion circuit. These haraonics give the effects device a more complex signal to operate on. We doubt you will ever need to use an external distortion device with the G1; the complete control of distortion and tone is one of the rain benefits of the Gi’s full-feature, 2 channel systen. All effects loops are located after the “master” VOLUME controls. The VOLUME control will not affect signals coming fr the effect. To control the level in some situations [for example, when using infinite hold on a digital delay], you will have to use the output control provided on the effect, or use a volume pedal, etc. after the effect. When using Channel 1, you may notice a drop in volume when going from “NORMAL to “BOOST”; conversely, there is an increase in volume when going from “BOOST” to “NORMAL". This “backwards” gain shift helps reduce noise at high drive levels. Simply use the Channel 1 master VOLUME to compensate. The reverb “pan” (mounted in the top of the Gi amplifier unit) is very sensitive to buzz caused by external magnetic fields. When using the G1 mounted in a rack,, take care not to place the unit directly below another piece of equipment, especially one with a large power transformer (power amp, etc.) The G1’s own power transformer is specially shielded to prevent interfering with the reverb. The best load impedance for the G1 to operate at is 4 ohms. Operating the unit at higher impedances will cause no harm, but the full 110 watts will not be available. 4x12 cabinets, such as Marshall “stacks” can usually be rewired very ily to obtain optinum results. Using the unit with a single 8 oha 12" speaker, and adding an extension speaker (also 8 ohas) for larger venues is also a relatively efficient use of the Gi’s power. Squeals, thumps, etc. occurring several seconds after the amplifier is turned off are noraal, and will not excessively stress the aaplifier or speakers. Stick-on rubber feet are provided with the G1B. Install them on the G1’s bottom 4£ you will be placing the unit on top of other equipment (not in a rack). Pay close attention to the guitar cords you are using. Excessive cord capacitance can cause loss of treble frequencies, and a aarked change in tone. Guitars with active electronics, direct boxes, and ‘irel2ss systems can help alleviate this probler. Our factory offers a number of custom nodifications for the G1, some of which are: a reverb or limiter footswitch, the addition of extra loops at various points in the signal path, AC power outlets, changes in the tone control frequencies, etc. (Consult the price list for a breakdown of the standard configurations). Call or write for cost estimates, “down time", etc. We are genuinely interested in hearing about any problems you encounter, or any ideas you may heve for new applications. + Input Impedance: Inateument Tapu ALL Rear Panel + Output Impedance (Limiter & Effects Outputs): * Tone Control Rang b Treble Midrange Midrange Center AC Line Voltag + Size: + Weight (ead Only): + Reverb Unit: SEECIFICATIONS te 500k Onae/20 pF Inpute 22k Ohas/100 pF 600 Ones +/- 15d8 @ Sole +7 1508 @ SkHe y= S48 Frequency 100#2 to 3kHz 98-132 or 195-265v, S0/60Hz %3:1/2m x 10 1/ 3 14 ib. Accutronica Type 9 (Hassond 3-Spring) + Power Uutput (Continuous Average) + Distortion (THD) @ Rated Power, 30Hz-15kH2, Power Amp Section Only + Sengitivity @ Instrument Inputs (for 110u/4 ohee 9 f=1kiz) 8 Volus + Sensitivity @ all Re * Mexiaua Input # Signal-to-Noise Ratio (WORM xode? 08 ai00 0.29% BOUST: Boopv (Cni> / 400nv

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