WARNING 0 PREVENT ELECTRICAL SHOCK OR FIRE HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. BEFORE USING THIS APPLIANCE, READ BACK COVER FOR FURTHER WARNINGS. OPERATING GUIDE The Basic™ 40 is a single unit, single channel amplifier which is the smallest of the range in our line of bass amplification. The Basic 40 produces well over 40 watts RMS into an & ohm load and is equipped with a very heavy-duty 12 speaker. The chassis and speaker are mounted in a ruggedly-constructed enclosure made of %" materials and covered with 34 oz. fabric reinforces vinyl. The system is very portable and will perform nicely for studio applications where levels are not as loud as large concert situations and the beginner bass player will certainly enjoy using this amplifier to its fullest extent for practice or even playing small concerts. While the Basic 40 is our smallest and lowest priced bass amp, itis still a professional system in quality and performance. Our DDT™ compression circuit (U.S. Pat. #4,318,053) maximizes this amp's performance so that the Basic 40 does run out of power (headroom) as easily as competing bass systems, The ODT compression eliminates most amplifier clipping and, theretore, keeps the output signal much cleaner than amplifiers without this patented system, We have also included four bands of EQ, a preamp output/power amp input loop, pre and post gain controls, and our vory offective "Pull Bright" control. Ali of the features listed above plus a new enclosure design add up to an unbeatable bass system within this size and power range. A comparison of features, quality and performance will illustrate the superiority of the Basic 40 over anything in its price/power category.POWER ON/OFF SWITCH ‘The front panel of the Basie™ 40 includes the on/etf power switch and this device is @ conventional two position, rocker-ype with the on indication atthe top and the off indication at the Dottom POWER LED ‘The LED on the front panel which is labeled Power (PWR) notifies the operator thatthe unit's receiving power from the AC mains and itis ready for operation. DOT COMPRESSION ‘Your Basic™is equippedwith ourpatented DOT compression circuit which senses the onset ofclippingia the power amplitier ang allows the system to remain cloan. This feature drastically reauices cstortion which I ‘ormally hears wnen the speaker receives a clipped (distoried) signal trom the power amplifier section ‘Speakoré last much longer and the program matenal remains much cleaner with the DT. (Distortion Detection Technique) system. There is an LED indicator on the front pane! of the amalitier which indicates ‘when the system nas gone into compression, There is no need to panie when this Hight beqine 1 fash ais ‘merely stating that the system has reached its fll ower and no more output will bs ontainea in excess ofthe power limitations Ina systom without DDT the amplifier will continue o ry to proguce more power tan ts fated output and this wil be noticed in the form of distortion EQUALIZATION PRESENCE EQ CONTROL ‘The Presence control boosts the high frequency response. This control may’ be utilized to obtain that extreme high frequency boost thas is necessaty for playing tnumb-siap bass or for any resson where the xtreme highs need to be emphasized. Pick naisé and fingernail noise may be grestly increased by rotation of the presence contralclockwise, By thesame token, a player whe desireste havenene! ine picknelseor hnger hoise reproduced may eliminate a great degree of extreme highs by operating he Presence contol near lis Counterclockuise postion The operation of this contol conventional and you will note that st atfects high Sequences above the frequency band of the high contra. HIGH EQ CONTROL ‘The High EQ control determines the overall balance of high frequenciesin heresponse of the Basic™ The action ofthis control is eimitar to that ofthe low frequency and the mid controls excep! for its high frequency tlteet More high frequency content is obtained with clockwise positions while less emphasis is placed on the highs with counterclockwise operation. SIC 0 4 - MOS NN e BA: MID EQ CONTROL ‘The Mid Equalizer controls the all important mid-bans which greatly altace the timbre and the overall tonal Coloration of most any string instrument. The Basic™ may be equalized Tor the desired amount of miderange “punch that js necessary to ereate those tones thatare popularin the studio ans during canicert tuations with this contro! Th's control operates on a 0t0 10 number seal and clockwise rotation Indicates more empnasis forthe mids while counterclockwiee operation indicates less mids and @ much “atier" overall tonality Proper {ujustmont of the mid-range EO 's vital to the overall sound of many instruments and you should experiment with this control using your particular base guitar and Ge famiuar with the different tonalities that can be ‘chieves by rotating from full counterclockw ee to fully clockwise, LOW EQ CONTROL, “The Low Equalizer Is designed to enhance low fundamentals and harmonics for typicel bass guitar applications. This contra is conventional n operation and is labeled 0 to 10 and allows increased bess frequency emphasis with clockwise settings. When the systom neods tobe extremely “dry "with loss response forthe extreme lows, te control should be operated near counterclockwise rotation. Care should be taken not to. overemphasize bass response with extrome lows bacause headroom normally suffers undar thess Concitions, With ne Basic" we are dealing with a moderately powerad amplifier and extreme amounts of ace ‘boost will ult In significantly less headroom and overall periormance, PREAMP OUT/POWER AMP INPUT “The preamp out/power amp in jack ie lecated on the front panel andis a “stereo or two position type jack In ordor to interlace an effects device or any acctional equalizer, ete info the Basic™ 40 systema stereo 1/4" shone plug must be lsed. The preamp cufputison the tipata typical stereo plug and thepawerampin ison the ring “or the s9cong position ofthe plug (see diagram A). Wher a preamp output only is desi. itis obtained by using a mono 1/4” phone plug inserteg only to the “frst click (Care should be taken natto insert a mona phone plug al the way info the second position, Because the preamp output woule Be obtained Bul Ihe power Emp would be switched of?) Incertain studio applications, however. this socond patch with amano phone plug is desirable when the internal speaker anc intemal power amp ts nt needed. For patching mettects cevices. the stereo phone plug should bewiredas follows: the ip connection, (whichis he preamp output), shoul go to the inputof the effects device, and the output ofthe effects device should he connected tothe second position dt staree phane pig. which isthe ring. Shielded cords should be used for all preamp applications! Peavey Stlers a paten cord for this purpose in our accessory program (See Diagrams 8 & ©.) ("7 Sterea Patch Cable, Peavey Part 0005298), 2 Q - 4 o 4 2 ® u POST GAIN CONTROL “The post gains, in essence, a master volume control. This feature determines the overallsignal evel ofthe preamp, which is fed to the internal power emplfier Far concert (‘oud) applications, the post gain shoul be fagjusted to 3 fairly high setting, s0 thatthe system wil operate at maximum levels and remain as clean 86 possibie. For stuce and other low level applications, the post gain may be backed down to aor Setting to Splimize residual preamp noise for demanding studio applications Fornormalsituations the post gain should be set somewhere around 7 t0 10 50 that headroom ie not drastically recuced and then the instrument ain should be eet withthe pre galt control. Be careful net toad|ust epost gain toa (ower setting an te pre ga!setting when “clean” operation is desired. Many times overload harmonies are desired for certain applications 2nd those may be obtained with a very fow seting of the post gain and a fairly nigh setting of the pre gain PRE GAIN CONTROL “The pre-gain control is labeled from 0 to 10 and works conventionally. This is the frst control thet your signal cesches after being patched through the input jack. This control must be used in conjunction with ine ost gain control for optimum performance. jf run ence ‘The Pull Bright feature is activated with the pre gain control knob and is simply @ pull/push type switch wiih gives a "brightness boost” at very high frequencies. Thiscontral may be used toemphasize pice noise ot Tinger noise as the bass or other instrument is played, To activate this control. Simply pull out the pre gain control, and to deactivate this feature simply push the control back. HIGH GAIN AND LOW GAIN INPUTS. ‘The high gain input is the most “sensitive” and should be used test under normal concitions unless an {extremely “not” (high level) signal is patched into the Basic™ 40, if ne nigh gain input snould cistort ne signal then you should consider using the low gain input. The low gain input $648 lese sensitive an will alow te preamp to lake much more signal at ihe Input without premature distortion. It overload is audible then you. Should determine ifthe preamp is overloading or ifthe eystem le running Dut of power (headroom) with (he Internal power amplifier Our DOT compression cireuttwill tually eliminate any power amp distortion s01t1S fairly simple 1 determine he preamp ls being overloaded. Most intruments wil patch, es mentioned sbave, into the high gain jack but occasianally a stronger signal, uch aa an instrument with & preamp Bull in ee shoule be plugged into ine low gain input, DIAGRAM “A” DIAGRAM DIAGRAM "C” PREAMP OUT WITH PREAMP OUT WITH INTERNAL PA/SPEAKER — powen anp POWER AMP/SPEAKER — owes aur FUNCTIONING NORMALLY wNPut DEFEATED. INPUT BACK PANEL LINE CORD For your safety, we have incorporated a thres-wire line (mains cable) with proper grounding facilities, tis not advisable toremovethe ground pin under any circumstances. Ii 's necessary to use the amp without proper grounding faiiies, suitable grounding adaptors shoule be uses Much less noise and greatly reduces shock hazards exis! when the unit is operated withthe proper grounded recepiacles. LINE (MAINS) CORD RETAINERS \We have provided two large molded line cord retainers on the rear pane! to allow storage of the mains cable tor travel, In operation the cable should be completsiy unwrapped to allow maximum nest dissipation from the rear panel RETAINER RETAINER BASIC™ 40, Z Zee 7 amt eeBASIC" 40 SPECIFICATIONS POWER AMPLIFIER SECTION: RATED POWER & LOAD: 3a.W FS 0 0 onma with DOT™ compression anc LED POWER AT CLIPPING: (Typically) (SETHD, 1 KH2, T2DVAC lino) 25W Ris imo Te onms 45 W BMS into s.onms SOW RMS into denims Denmenot recommonded FREQUENCY RESPONSE: oy-2 dB, OOF to 10 Kriz @ 40.W AMS into B ohms ‘TOTAL HARMONIC DISTORTION: Less than 0.2% 100 mW To 20 W ANS, Gotizto 10kHz, Sanms, Typically Below 0.1% DDT” DYNAMIC RANGE: (raster than 10.40. DDT™ MAXIMUM THO: [Below 0.5% THO for 6B overload Below Ie THD for 18 0B overioad HUM & NOISE: (Greater then 80 dB below rated power POWER CONSUMPTION: (Domestic) {bo watts, S060 He, 120VAC PREAMP SECTION: ‘THE FOLLOWING SPECS ARE MEASURED AT 1 kHz WITH THE CONTROLS PRESET AS FOLLOWS: PRE GAIN PULL BRIGHT OFF (IN) POST GAIN @ 10 Lowea MID EQ. HIGH Ea @ 10 PRESENCE EO @5 NOMINAL LEVELS ARE WITH PRE GAIN @ 5. MINIMUM LEVELS ARE WITH PRE GAIN @ 10 PREAMP HIGH GAIN INPUT: Tmpedance: High 2, 220K ohms Nominal Input Level -24 dv. 60 my RMS. Minimum itiput Level “#5 BV, mv BMS Maximum input Level. *6 dV, 2V RMS, PREAMP LOW GAIN INPUT: Impedance: High Z. 4K ohms Nominal input Lovel1e.dB¥. 120 mv RIMS. Minimum input Level “40.ca, 10.my RMS Maximum Input Level 12 dV, 4V RMS PREAMP OUTPUT: (Tip of Stereo Jack) Toad Impedance: 40K one or groater Nominal Output: 038¥, TV AMS. POWER AMP INPUT: (Ring of Stereo Jack) Impedance: High 2, 22k ohms Besigned Input Levels 0BV. 1V AMS. SYSTEM HUM & NOISE @ NOMINAL INPUT LEVEL: Bort to 20 tHe, urareightes) "4d below rated power EQUALIZATION: Low, Mia & High Passive Type EQ Presence Active Type EO) PuiiBrignt. “308 @ 2 aH PEAVEY ELECTRONICS CORPORATION 711 A Street / Meridian, MS 39301 / U.S.A. © 1082 Printed in USA,