Operating Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
5150 Amp Head
OPERATING GUIDE 1 INPUTS amount of overdrive/sustain you The 5150’s input block features want for the LEAD channel. Then, HIGH [l] and NORMAL [2] gain with the POST GAIN control adjust 3 inputs. The HIGH gain input has for overall volume. twice the gain of the NORMAL gain input and should be used when maximum overdrive is RHYTHMPRE& POSTGAIN desired. When both inputs are The RHYTHM channel PRE [4] and used simultaneously, the 5150 POST GAIN [12] operate in the automatically switches to the same manner as the LEAD channel normal gain mode (6 dB pad). gain controls. For most Situations where both inputs are applications, the RHYTHM channel used at once (alternating between should be set up with the PRE two guitars on stage using both GAIN at the lower, “cleaner” inputs, etc.) should be avoided if settings (0 - 4) and the POST GAIN peak overdrive is expected from set for overall volume. The the amp. Experimentation with RHYTHM channel can be your particular guitar/pickup into converted to a second “lead” each input will determine which channel by activating the CRUNCH input is best for your sound. SWITCH [6]. BRIGHTSWITCH CHAMUEL SELECTSMITCH Activates a preset boost in the 3 Allows selection of the RHYTHM or treble frequencies (6 dB at 2 kHz) LEAD channel. Depressing the and affects only the rhythm switch to the “in” position activates channel. the LEAD channel. The red LED light will illuminate to indicate that the LEAD channel is active. In the CRUNCH 'SELECTSWITCH “out” position the RHYTHM Boosts the gain of the rhythm channel is activated and the green channel to create a second “lead” LED illuminates. -
Yek's Guide to the Fractal Audio Amplifier Models
Yek’s Guide to the Fractal Audio Amplifier Models Original content by Yek AdditionalContent: Alexander content by van Simviz Engelen (yek) Firmware:Additional Q3.03 content by Simviz Revision: April 2017 Firmware: Quantum 7.02 Fractal Audio Amplifier Models Table of Contents Table of Contents ..................................................................................................................................... 1 Introduction by simviz ............................................................................................................................. 7 Introduction by yek .................................................................................................................................. 8 Disclaimers ............................................................................................................................................... 9 Guide Revisions ......................................................................................................................................10 The Amps ...............................................................................................................................................11 5F1 Tweed (Fender Narrow Panel Tweed Champ, 5F1) ....................................................................12 5F8 Tweed (Keith Urban's Fender Narrow Panel high-powered Tweed Twin, 5F8) .........................14 6G4 Super ('60 brown Fender Super, 6G4)........................................................................................17 6G12 Concert -
Line 6 POD X3 Family Model Gallery
Model Gallery Premium quality models of classic amps and immortal effects is what the Line 6 POD X3 family is all about. Here’s what we offer in the POD X3, POD X3 Live and POD X3 Pro. ® 40-00-0175 Rev B Please Note: Line 6, POD, PODX3, POD X3 Live, POD X3 Pro, PODxt, Variax, FBV, DL4, DM4 and Vetta are trademarks of Line 6, Inc. All other product names, trademarks, and artists’ names are the property of their respective owners, which are in no way associated or affiliated with Line 6. Product names, images, and artists’ names are used solely to identify the products whose tones and sounds were studied during Line 6’s sound model development for this product. The use of these products, trademarks, images, and artists’ names does not imply any cooperation or endorsement. Model Gallery © 2008 Line 6, Inc. Model Gallery Model Gallery Guitar Amp Models 2002 ANGEL P-Ball 1964 Blackface ’Lux 1963 Blackface Vibro 2002 Bomber Uber Based on* the 2002 ENGL® Based on* a Blackface Fender® Based on* the 1963 Fender® Based on* a 2002 Bogner Powerball, a four-channel Deluxe Reverb®, the Holy Vibroverb 6G16 2x10 – 40 Uberschall and much like the amplifier. We modeled channel Grail for many blues, country, watts of pure heaven. Bogner Ecstasy, the Uberschall 2 (Soft Lead). and “roots” players. dishes up serious tone for high gain players. 2002 Bomber X-TC 1968 Brit Plexi Bass 100 Brit Gain 18 2003 Brit Gain J-2000 Based on* a 2002 Bogner Based on* Input I of the 1968 Based on* the Marshall® Based on* the OD2 channel of Ecstasy, this model covers a Marshall® Super Bass Plexi 1974X “authentic re-issue” of a 2003 Marshall® JCM 2000, it wide range of tone. -
I N N O V a T I O N a M P L I F I
2019 CATALOG ALL NEW TRACE ELLIOT® PAGE 45 INNOVATION AMPLIFIED Hartley Peavey, CEO and Founder Peavey Electronics Corporation PRODUCT CATALOG GUITAR 2 INVECTIVE™ SERIES POWERED 76 RBN™ SERIES AMPLIFIERS 8 6505® SERIES ENCLOSURES 80 SP® SERIES & CABS 18 CLASSIC® SERIES 82 PVX™p SERIES 24 TRANSTUBE® SERIES 84 DARK MATTER™ SERIES 26 VYPYR® SERIES 86 PV® SERIES 30 GUITAR AMPS 32 PEAVEY EXTENSION CABS NON-POWERED 88 ELEMENTS™ C SERIES 33 ECOUSTIC® SERIES ENCLOSURES 90 IMPULSE® SERIES 92 QW® SERIES KEYBOARD 34 KB® SERIES 94 SP® SERIES AMPLIFIERS 96 PV® SERIES BASS 36 MINIMEGA™ AMPLIFIERS 37 MINIMAX™ SPEAKER MOUNTS 98 VM™ SERIES MOUNTING SYSTEM & CABS 38 BASS ENCLOSURES 39 MICHAEL ANTHONY SERIES PORTABLE P.A. 100 ESCORT® SYSTEM 40 MAX® SERIES POWER AMPS 102 IPR™2 AMPS TRACE ELLIOT® 46 ELF™ 50 TRANSIT™ POWER 103 ISPD™ PRO DISTRIBUTION BASSES 52 CIRRUS™ SERIES 56 MILLENNIUM® SERIES AUDIO 104 DIGITOOL® SERIES OVER 50 YEARS UNDER THE SAME 60 MILESTONE® SERIES PROCESSING 106 EQUALIZERS OWNERSHIP AND MANAGEMENT! 108 CROSSOVERS GUITARS 62 RAPTOR® SERIES 109 LOUDSPEAKER MANAGEMENT SYSTEMS What makes Peavey different is a commitment to approaching business with a unique vision; from NON-POWERED 66 PV® SERIES MICROPHONES 110 MICROPHONES product design to distribution, to being the largest MIXERS 70 UNITY™ DR16 116 WIRELESS MICROPHONES independently owned manufacturer in the business. This quest has led to more than 180 patents and POWERED 72 XR®S CREST AUDIO® 120 VERSARRAY™ SERIES MIXERS 73 XR®AT innovations in the way we hear and play music. 74 PV®i SERIES FLOYD ROSE® is a registered trademark of Floyd Rose Marketing, Inc. -
Peavey Catalog 2015
PEAVEY AT 50: In Praise of Integrity By Willie G. Moseley "ROCK 'N' ROLL IS CRAPPY MUSIC. IT WILL NEVER LAST." In the music world, Hartley Peavey has name recognition most aspiring musicians would give their left arm for. Interestingly enough, Peavey himself began as an aspiring musician. While his ingenuity and creativity have helped his company rise to the top, it’s his commitment to integrity that has helped it stay there. But when Hartley Peavey caught the music bug, the world was a much different place. “Rock ‘n’ roll is crappy music. It will never last.” That’s what Hartley Peavey’s father told him when he asked for a guitar. The year was 1957, and Hartley Peavey had just seen Bo Diddley in concert in Laurel, Mississippi. Peavey was determined to become a rock star, and better positioned than most teenagers to become one at least on paper. The reason? Peavey’s father owned a music store in Meridian, Mississippi. After some convincing, his In a time of mass conglomeration, buyouts, and price hikes, Hartley establishes a new niche in music and audio equipment, providing "quality gear at a fair father finally gave him an old price." Production begins on the Peavey Musician™ and Dyna-Bass™ amplifiers, acoustic guitar, which he quickly hand-built at a rate of one unit per week. converted to an electric one. But there was a problem: He Even before Hartley Peavey tried honing his skills on the didn’t have an amp. So he built guitar, he’d already started mastering the skills that would one from spare parts, and in the make his equipment indispensable to musicians worldwide. -
Guitarra Eléctrica Ackron
Escuela Superior De Enseñanzas Técnicas Máster Universitario En Ingeniería Del Diseño Universidad Cardenal Herrera CEU Escuela Superior de Enseñanzas Técnicas, 9 de Septiembre de 2011 Alumno: Manuel Ibáñez Arnal Tutor: Marcelo Martinez Lax Desarrollo de proyectos de Diseño Industrial: desarrollo de productos. Índice 1. Introducción (pág. 2) 2. Marco teórico y estado del arte (pág. 4) 2.1. La guitarra eléctrica 2.2. Historia 2.3. Los modelos más arraigados 2.4. Marcas de la competencia 2.5. Componentes de la guitarra eléctrica. 2.5.1. Clavijero 2.5.2. Ceja o puente superior 2.5.3. Clavijas 2.5.4. Trastes 2.5.5. Tensor del mástil o alma 2.5.6. Marcadores de posición 2.5.7. Diapasón 2.5.8. Cuello 2.5.9. Cuerpo 2.5.10. Cápsulas o Pastillas 2.5.11. Perillas o potenciómetros 2.5.12. Puente 2.5.13. Protector o golpeador 2.6. Transporte del producto. 3. Planteamiento del problema e hipótesis (pág. 54) 3.1. Planteamiento desde la perspectiva: estética, comercial, funcional y personal. 4. Objetivos e impacto esperado (pág. 63) 4.1. Objetivos 4.2. Impacto esperado 5. Solución propuesta (pág. 65) 5.1. Planteamiento formal 5.2. Materiales 5.3. Bocetos 5.4. Guitarra “Ackron” 6. Conclusión (pág. 104) 7. Bibliografía (pág. 105) Introducción La guitarra eléctrica es un instrumento musical creado en Estados Unidos, que nace en 1920, fruto de la evolución de la guitarra clásica ya conocida desde la época medieval. En los años 50 este instrumento vivió una de sus mejores épocas, cuando algunos de los fabricantes más importantes desarrollaron modelos que pasarían a la posteridad Modelos que marcaron la estética y funcionamiento de este producto hasta el punto de convertirse en una idea preconcebida de guitarra. -
Alright, School's Out, and It's Time to Rock!
Alright, school’s out, and it’s time to rock! Whether you’re a newbie saving up your summer job paychecks for the perfect investment in your future career or a road dog traveling from city to blistering city knocking ‘em dead, it’s likely that more musical gear will be bought and sold this summer than ever before. From indie bands to worship leaders and colleges re-stocking for the new school year to hobbyists looking for ways to pass the lazy days in style, for many of us, summer is all about the tunes. This is also the season of major festivals and tours as well as uncountable hours of jamming in garages and basements from coast to coast, and the options have never been greater. With new catalogs showing up in the mail almost every day, web stores stocked to their virtual rafters with shiny, new gear just waiting to be played and the local store filled to capacity, where do you begin? The CCM Summer Gear Guide, of course. In the following pages, we have collected some of the hottest new products in the music gear universe as well as some timeless standbys. From the stunning beauty and delicate artistry of McPherson Guitars to the bone-burning volume of Peavey’s flagship 6505 amp, this is a good place to start. If you’re looking for the perfect stage piano and just get overwhelmed comparing the options, we’d like to introduce you to the amazing Roland RD 700SX. And any guitarist looking for perfect tone and effects needs to check out the killer Visual Sound effects pedals—and their new amps! Veteran mic purveyors Audio Technica are helping a gospel group fill arenas with just the sound of its voices—wirelessly! Other bands are criss-crossing the country, maybe even cruising in that bus you passed on the highway just last week, with an arsenal full of high quality and affordable Audix mics in tow. -
The Van Halen Encyclopedia
The Van Halen Encyclopedia The Van Halen Encyclopedia By C.J. Chilvers Malpractice Publishing Oak Lawn, IL Autographs Autographs The following trademarks appear in this book: Wolfgang, Pepsi, Crystal Pepsi, Coke, Yamaha All Access. The author and publisher apologize for any omissions and ask readers to send any information that could be used in updated editions to this book to Malpractice Publishing, P.O. Box 79, Oak Lawn, IL 60454, or visit www.vanhalenencyclopedia.com. The Van Halen Encyclopedia. © 1999, 2001 C.J. Chilvers. All rights reserved. No part of this book can be reproduced in any form without the written permission of the author except for reviewers who may use short excepts in their reviews. Published by Malpractice Publishing, P.O. Box 79, Oak Lawn, IL 60454. Permission was obtained from Rockline and Detroit's WRIF (the Drew and Mike show) to reprint selections from interviews with the band. ACKNOWLEDGEMENTS Special thanks to the following people who shared their knowledge, memories, and experiences. Without them, this book would not have been possible: John Q. Adams, Paula Allen, Rick Ames, Eddie Anderson, Andrea Andrajacks, Michael Anthony, Lucas Aykroyd, Stephen Bagiatis, Sonia Bar, Andy Barrett, Pat Baustert, Thomas Bell, Shawn Berman and Rumbo Recorders, James Berry, Valerie Bertinelli, Steve Betz, Martin Bissett, Tony Bowe, Brian Brantley, Bill Broadway, John Bros, Ali Brown, Michael Brown, Timothy Brown, Nik Brownin, Jimmy Cain, Rodney Carr, Guillermo Carrera, Wayne Charvel and WRC Music, Greg Cherone, Mike Clark,