Peavey Mace Owner's manual

Peavey Mace Owner's manual
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Printed in U.S.A.
80347000
POWER AMP:
OUTPUT POWER @ 1 KHZ @ 120 VAC Line
Rated Power: 160 W RMS at rated load: 4 OHMS /2 Ohms
Power vs. Load: 120 W RMS @ 5% THD into 8 Ohms
160 W RMS @ 5% THD into 4 Ohms
160 W RMS @ 5% THD into 2 Ohms
PEAK OUTPUT @ RATED LOAD: 9 Amps & 36V, 320 Watts
MUSIC POWER OUTPUT @ RATED LOAD: 200 W RMS @ 5% THD
PRE-AMP:
INPUT CHARACTERISTICS (Tone controls full ew, Volume @ 12:00, master full cw)
Sensitivity: 20 mV @ 1 KHZ/Input Impedance: 330 K Ohms
Noise: 50 DB Open Ckt.,, 55 DB 50 K Ohms, 60 DB Short Ckt.*
DISTORTION @ 1 KHZ: Less than 0.5% THD @ Rated Output**
FREQUENCY RESPONSE: 3 DB Down @ 40 HZ & 25 KHZ
TONE CONTROLS: + 10 DB @ 50 HZ + 20 DB @ 5 KHZ
MIDDLE CONTROL: + 10 DB @ 300 HZ
REVERB CONTROL: Continuously variable with footswitch cut off
POST GAIN: Used in conjunction with pre gain to produce overload.
TREMOLO CONTROLS: Variable depth & rate w/footswitch cut off
*Signal-to-noise ratio in DB below rated output
**Measured with reverb & tremolo cut-off (Full CCW)
Your new Mace amplifier is based around an all
new tube type power amplifier delivering a very conser-
vatively rated 160 watts RMS @ 5% THD. Six, 6L6GC
tubes have been chosen to power the Mace because of
their proven field reliability and rugged construction.
Special power and output transformers were custom
designed to precisely match the tubes and to provide
that extra margin of reliability and durability required of
a workingman's amp.
Your new Mace features two channels, “Effects”
and “Normal” with four inputs that function along with
the Automix footswitch to allow you to play through
either channel, both channels in parallel, or both
channels in series. Please read the explanation of each
input and become familiar with the effects possible with
the Automix footswitch.
1 The Effects input places the signal from your
instrument into the effects channel only.
2 The Normal input places the signal from your
instrument into the normal channel only.
3 The Parallel input places the signal from your
instrument into both channels. Plugging into this
parallel jack is the same as using a patch cord to bridge
into the normal and effects channels, except that the in-
ternal circuitry automatically performs the patching
function. When plugged into this jack, both normal and
effects channel gain controls are active and the desired
blend of each can be found by varying the level of each,
relative to the other.
4 The Series input places the signal from your
instrument into both channels in series. By placing the
channels in series incredible sustain and overload har-
monics can be generated. Experimentation with various
combinations of gain control settings will yield an infinite
variety of harmonic characteristics and sustain
durations. These functions can be used in conjunction
with the post gain controls to avoid driving the power
amplifier to full output while seeking the desired effects
enabling the operator to obtain sustain and overload
effects at very low volume levels, such as those required
in some recording studio applications.
FOOTSWITCH
Selector Button
As the name implies, the selector button allows
you to select between the normal and effects channels.
This button is functional with your instrument plugged
into either the series or parallel input.
Combiner Button
The combiner button deactivates the selector
button and allows both channels to be in the circuit at
one time. The selector button becomes inoperative as
soon as the combiner button is depressed.
Reverb
The reverb button activates reverb on both channels.
Tremolo Button
The tremolo button activates tremolo on the
effects channel.
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5 The Pre Gain controls are each channel's regular
volume controls. This control sets the gain of the
preamp thereby controlling the sensitivity of the
preamp, not the power of the amp.
6 The Treble control varies the high end response of
the particular channel.
7 The Bass contro! varies the amount of low end
response of the particular channel.
8 The Middle control, located in the effects channel
only, can be used to tailor the vital mid-range response.
Experimentation with the unique middle circuit will show
that it is much more effective than conventional circuits.
9 The Post Gain controls are each channel's master
volume controls. Many interesting effects can be
achieved by using the post gain control in conjunction
with the pre gain control. The most common of these
effects is the creation of harmonic distortion and sustain
by overdriving the channel's preamp with low settings
on the post gain control while running the pre gain con-
trol at high or maximum settings. The post gain controls
also make it possible fo pre-set each channel for
volume, overdrive, and tonality. The guitarist can then
select and combine the channels with the Automix
footswitch. Because the channels are completely in-
dependent of each other, tone and volume variations
can be produced in the amp without the performer hav-
ing to remove his hands from his instrument.
10 The reverb control determines the amount of
delayed signal (reverb) blended into the output. This
circuit is able to produce tremendous sustain and clarity
by properly damping the driver coils of the reverb unit.
The reverb is effective in both channels.
11 The depth control is used to vary the amount of
amplitude modulation (tremolo) of the output signal.
The operation of this control is conventional and should
present no problem in adjusting for the desired effect.
12 The rate control determines the speed with
which the signal is modulated. This control varies the
speed of the tremolo master oscillator and should
provide any speed desired for modern music.
13 The pilot light indicates when the electrical
supply (mains) is supplying power to the amplifier.
14 The fuse is located within the cap of the fuse
holder and should be replaced with one of the proper
value if it should fail. It is necessary that the proper value
fuse be used to avoid damage to the equipment and to
avoid voiding the warranty. If your amplifier repeatedly
blows fuses, the unit should be taken to a qualified ser-
vice center for repair.
©
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15 The line power switch is of the three position
type with the center position being off. The three posi-
tion switch has two ON positions, one of which is used
to ground the amplifier properly. One of the ON
positions will yield the least hum or popping when the
instrument is touched and this is the position that should
be used.
For your safety, we have incorporated a 3 wire line
(mains) cable with a grounding lug. It is not advisable to
remove the ground pin under any circumstances. If it is
necessary to use the amp with the old two prong
sockets, a suitable adaptor should be used. Much less
noise and greatly reduced shock hazard exists when
the amp is operated with the proper grounded recep-
tacle.
16 The Standby Switch removes the B+ supply
from the output tubes while leaving the filament voltage
on. This function keeps the tubes at operating
temperature and allows for instant operation when the
standby switch is thrown.
17 The main speaker output Jack is where the main
speaker must be plugged in. The output inpedance of
this jack is 4 ohms.
18 The external speaker jack is designed to allow
use of an additional speaker system with the Mace. This
jack does not become operational until the main jack
has been connected to a speaker. Due to a special
switching jack which connects a separate 2 ohm tap on
the output transformer, a 4 ohm load may also be con-
nected into this jack—thus allowing the amp to put out
full power into a total impedance of 2 ohms when an ex-
tension speaker is desired. The output impedance of
the Mace is 4 ohms when the main speaker jack is used
and 2 ohms when both are used. NOTE: No less than a
4 ohm speaker system should ever be connected to
either speaker jack.
© ©
These and all other high power tube type amplifiers
must be used in the proper manner to avoid damage to
tubes and other internal components. Below are several
instructions that must be followed when operating high
powered tube type equipment.
A. NEVER OPERATE THE AMPLIFIER WITHOUT A
SPEAKER LOAD! This amp is equipped with a shorting
system on the main output jack to help protect against
accidentally turning on the amp without a load. If the
speaker patch cord is plugged into the amp, but not
connected to the speakers, the amp is NOT loaded and
could cause problems if the amp is turned on and
operated in this manner. The natural inductance of the
output transformer can store energy that normally is
transferred to the speaker and is capable of developing
tremendous voltages. These voltages can cause serious
internal arcing between the elements of the output tubes
and their related circuitry. This is the MOST important
consideration in the safe operation of your tube amp.
B. The 6LEGC output tubes are the most rugged audio
power tubes on the market and should provide long ser-
vice in the output circuit. Each tube has a keying pin
moulded into the base to index the pins into their proper
positions. When installing or removing the tubes, it is
possible to break off these index pins by bending the
tube too much in its socket. Use extreme caution when
handling the tubes. UNDER NO CIRCUMSTANCES
SHOULD TUBES WITH BROKEN OR MISSING INDEX
PINS BE INSERTED IN THE SOCKETS. If a tube is in-
serted in the improper manner (wrong indexing), the
output stage will instantly be damaged when the unit is
turned on. Use of tubes with broken or missing index
pins voids the warranty.
19 A “Din” Socket is located on the back panel for
the Automix footswitch. Care should be taken to proper-
ly mate the connectors of the footswitch plug with the
respective socket holes.
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