Eager readers of my power amp test reports may have already noticed that the company name "Peavey" is used quite often, especially in the introduction to my articles. One of the reasons for this is that my "performance-related formative phase" in terms of power amplifier technology was directly linked to the American company. As with all up-and-coming young artists, I had the most technical problems in the rehearsal room in amplifying the vocal area, which was repeatedly expressed in whistling microphones and clippings from the poor power mixers of the time.
The measure of all things were the first consoles of the Mackie generation and as a reinforcement element, Peavey CS 400 or CS 800, their character a sure guarantee for a performance without interruption and, in their first generation, for the nearness of the first herniated disc with incorrect lifting technique. Peavey was making trademarks in final stage technique at the same rate as a male raises his leg on a morning walk. If you had Peavey, you had no problems!
Those times are long gone. Thanks to Class D technology and significantly thinner sheet steel, power packs weighing a hundredweight have outgrown the weight classes of a Fischer kit and the manufacturing facilities of the national pride of the Americans have long provided jobs in the low-wage country of China. The number of well represented American trademarks and the bold print "Designed And Engineered In The USA", which is intended to distract from the "Made In China", have remained. Let's see what American values could be saved to the Asian area.
construction
The Peavey IPR 1600 comes in the standard height of 2 height units and the dimensions: 89 mm x 483 mm x 282 mm and with a weight of only 3.23 kilograms it is about to take the top spot in the field of lightweight construction. It should be clear to everyone that this weight cannot be combined with a solid construction. The sheets of the IPR 1600 are designed in a very thin and at the same time not very torsion-resistant variant. To what extent twisting of a housing is ever an issue is another question, but as I said, the design cannot be considered massive. There is also a little play between the individual sheet metal elements, but this does not detract from a general clean processing level.
In terms of performance, the power amplifier is in the midfield of current Class D power amplifiers, i.e. 2x 530W / 4Ohm, 2x 800W / 2Ohm and 2x 300W / 8Ohm. In terms of input, XLR / jack combo sockets are available, which allow a daisy chain arrangement via a thru output. 2 Speakon are available as outputs. All plugs function properly, but have a rather cheap plastic finish. Although all connectors are screwed to the housing for strain relief, they are otherwise soldered directly to the circuit board. There are no strong pole shoes or even peer-to-peer soldering here.
The power amplifier provides three operating modes with the designations "Hi Pass", "Full Range" and "Subwoofer", whereby an integrated 100Hz crossover, switchable per channel, specifies the crossover frequency. The product is cooled by a variable-speed fan on the back of the housing. Among other things, the patented DDT speaker circuit is at work as a protective circuit. On the front, 2 level controls, combined with 5 LEDs, which provide information about on/off, the signal present, the protection circuit, temperature and direct current, set the tone.
If you open the case, you quickly realize why the power amp is so extremely light, the case is about 70 percent filled with air. I can't quite understand why Peavey doesn't use a smaller format, such as the half rack format, with such an excess of unused space. I'm thinking of an attractive handbag-sized format here, but the marketing department must have had other things in mind.
Even if the additional carrying straps on the front of the case make transport easier, they make placement in the rack a little more difficult. The attached screwdriver will scrape off the paint on the carrying straps with the first twist, that's for sure.
Practice
Anyone who still believes that what is basically just a workhorse like a power amp is all about the inner values will be taught a lesson by the IPR 1600 at the latest. Similar to how some guitar amplifier manufacturers have switched to the principle of optical puppet theater by illuminating the internal components with LEDs or fluorescent tubes, Peavey is also trying to breathe a "hip" character into his product by means of visual "pimping".
When activated, the power amplifier lights up light blue from the inside, which in terms of color does not even appear unattractive. Whether you appreciate such little color games or not is up to personal taste, but what seems completely out of place in my opinion is the standby mode of the internal lamps. Even if the product is still switched off, the standby lighting is already drawing power from the network. The product can therefore only be completely deactivated by pulling out the mains plug or a switchable power strip. At a time when consumer electronics are getting more and more snubs for missing "real" mains switches, I think it's more than stupid to transport this idiotic bad habit to the more or less professional work area. Technically, there were no complaints during the test.
Conclusion
In my opinion, the Peavey IPR 1600 is a product that does its job properly at first glance, but gambles away a lot in detail, or would make a much better impression in a different conception. The fact that almost 70 percent of the interior, similar to that of a CD player, consists of air, suggests that the product can be used as a miniature amplifier, for example in a 9.5 cm half-rack format or even smaller as a stand-alone solution for the briefcase would be better received than sticking to the traditional 19-inch format.
The sheet metal that is not very stiff against deformation, the "plastic-heavy" approach to the construction and the primary design in favor of optical presentation at the expense of professional design will, in my opinion, not make the IPR 1600 a permanent guest in demanding road use. The extremely low weight undoubtedly invites frequent transport, but the construction will definitely be kept in the semi-professional area, or for the clientele "Hey, my power amplifier has 1600 watts and flashes really cool" it will fulfill its function. No offense…
Additional Informations:
- Peavey Electronics Corporation - A Comprehensive Company Overview
Introduction: Peavey Electronics Corporation, commonly known as Peavey, is an iconic American manufacturer of musical instruments, audio equipment, and professional sound systems. Founded by Hartley Peavey in 1965, the company has grown from humble beginnings in a small Mississippi basement to become a globally recognized brand in the music industry. With an unwavering commitment to innovation, quality, and affordability, Peavey has consistently delivered products that cater to musicians, sound professionals, and audio enthusiasts alike. This comprehensive report delves into the history, products, contributions, and impact of Peavey in the world of music and sound.
Historical Background: Peavey Electronics Corporation was established in 1965 by Hartley Peavey, a young entrepreneur with a passion for electronics and music. The company's foundation was laid in Meridian, Mississippi, where Hartley started repairing and building audio equipment in his parents' basement. He was determined to create products that were not only exceptional in performance but also accessible to musicians of all levels. This vision became the cornerstone of Peavey's success.
2. Product Line: Peavey offers a diverse range of products that cater to various segments of the music and sound industry. Some of their key product categories include:
2.1 Musical Instruments: Peavey manufactures a wide array of musical instruments, including electric guitars, bass guitars, acoustic guitars, and drums. Their instruments are known for their robust build quality, great playability, and affordability, making them popular choices for both beginners and seasoned musicians.
2.2 Audio Equipment: Peavey's audio equipment division produces a vast range of amplifiers, mixers, speakers, and signal processors. Their amplifiers, in particular, have garnered a reputation for their reliability and power, making them a staple in live sound applications and recording studios.
2.3 Professional Sound Systems: Peavey is also a significant player in the professional sound system market, offering solutions for large-scale events, installations, and concert venues. Their line array systems and loudspeakers are renowned for their performance and clarity.
2.4 Specialty Products: Apart from musical instruments and audio equipment, Peavey has diversified its product offerings to include other items such as lighting systems, microphones, and specialty audio gear, further solidifying its presence in the professional audio industry.
3. Technological Innovations: Peavey's commitment to innovation has been a driving force behind its enduring success. Throughout its history, the company has introduced numerous groundbreaking technologies to the market. One notable example is the "TransTube" technology, introduced in the 1980s. This innovation allowed solid-state amplifiers to emulate the warm and rich tones of tube amplifiers, revolutionizing the guitar amp industry and earning Peavey immense praise from musicians worldwide.
4. Contributions to the Music Industry: Peavey's impact on the music industry extends beyond their products. The company has played a vital role in promoting music education and supporting aspiring musicians. They have actively sponsored various music programs, contests, and events, fostering the growth of musical talent across different genres.
5. Global Reach and Market Presence: Over the years, Peavey has expanded its reach and established a global presence. Their products are sold in numerous countries through a network of authorized dealers and distributors. Additionally, Peavey maintains a strong online presence, making their products accessible to customers worldwide.
6. Endorsements and Artist Relations: Peavey's reputation for producing reliable and quality gear has attracted endorsements from many prominent musicians and bands. Over the years, numerous artists, including renowned guitarists, bassists, and vocalists, have chosen Peavey products as an integral part of their sound.
7. Sustainability Initiatives: Peavey has taken steps to promote sustainability and environmental responsibility in their operations. The company has implemented eco-friendly practices in manufacturing, packaging, and waste management, aiming to reduce their carbon footprint and contribute positively to the environment.
Conclusion: Peavey Electronics Corporation has undoubtedly left an indelible mark on the music and sound industry. From its humble beginnings in a basement to becoming a global leader, Peavey's commitment to innovation, quality, and affordability has resonated with musicians, sound professionals, and audio enthusiasts worldwide. Their diverse product line, technological advancements, and contributions to music education have cemented their position as an iconic and influential player in the world of music and sound. With a legacy of success and a dedication to progress, Peavey continues to shape the industry and inspire musicians for generations to come.
19-Inch Rack Mount Amplifiers (Endstufen) - A Comprehensive Overview
Introduction: 19-inch rack mount amplifiers, commonly referred to as "endstufen" in German, are a fundamental component of professional audio systems. Designed to fit into standard 19-inch equipment racks, these amplifiers provide power and amplification to drive speakers, making them an essential part of sound reinforcement and audio distribution setups. This comprehensive report explores the key features, applications, technological advancements, and benefits of 19-inch rack mount amplifiers in the field of professional audio.
Features and Design: 19-inch rack mount amplifiers are purpose-built to be mounted in equipment racks, which are widely used in professional audio environments, such as live sound reinforcement, recording studios, theaters, and broadcasting facilities. The standardized 19-inch width ensures easy integration and compatibility with other rack-mounted gear.
These amplifiers typically feature sturdy metal chassis with front-panel controls and indicators, facilitating easy access and monitoring. They come equipped with balanced input and output connectors (XLR, SpeakON, etc.) to ensure optimal signal transfer and noise rejection, crucial for maintaining audio integrity.
2. Power Output and Amplification: One of the primary functions of 19-inch rack mount amplifiers is to provide power amplification for speakers. They take low-level audio signals from mixing consoles, processors, or other sources and increase their voltage and current levels to drive loudspeakers at the required volume.
These amplifiers are available in various power output configurations, ranging from a few hundred watts to several thousand watts per channel. The power rating depends on the specific application and the type of speakers they need to drive.
3. Bridgeable and Multi-Channel Configurations: Many 19-inch rack mount amplifiers offer bridgeable configurations, where two amplifier channels can be combined to provide increased power output to a single speaker or a series of speakers. This feature allows users to create high-power mono setups, ideal for large venues and subwoofer applications.
Moreover, some models feature multiple channels, enabling users to power different zones or speaker groups individually, making them highly versatile in complex audio systems.
4. Class and Efficiency: 19-inch rack mount amplifiers are often classified based on their internal circuitry and efficiency. Common classes include Class AB, Class D, and Class H. Each class has its advantages and is suitable for specific applications.
Class AB amplifiers offer a balance between sound quality and power efficiency, making them popular for general sound reinforcement and installations. Class D amplifiers, on the other hand, are highly efficient and suitable for applications where power conservation is a priority, such as portable PA systems and touring setups.
5. Advanced Protection and Processing: To ensure the longevity of the amplifiers and connected speakers, manufacturers integrate advanced protection circuitry. This includes safeguards against overheating, short circuits, and excessive current draw, preventing damage to the equipment and ensuring uninterrupted performance.
Additionally, some 19-inch rack mount amplifiers feature built-in signal processing capabilities, such as DSP (Digital Signal Processing), allowing users to apply EQ, crossovers, limiting, and other audio processing directly within the amplifier.
6. Applications: The versatility of 19-inch rack mount amplifiers makes them indispensable in various professional audio applications:
Live Sound Reinforcement: These amplifiers are used to power loudspeakers in concerts, festivals, conferences, and other live events.
Recording Studios: In recording studios, rack mount amplifiers are used to drive studio monitors and reference speakers for accurate monitoring and mixing.
Theater and Performance Venues: Amplifiers are employed to drive speakers in theaters, auditoriums, and performance venues to deliver immersive sound experiences.
Broadcasting and Film: In broadcasting and film production, these amplifiers are used to power speakers in studios, control rooms, and post-production facilities.
7. Technological Advancements: Advancements in amplifier technology have led to the development of lightweight, high-power, and energy-efficient 19-inch rack mount amplifiers. Manufacturers continue to invest in research and development to enhance audio fidelity, reduce distortion, and improve overall reliability.
8. Benefits and Considerations:
Space Efficiency: The rack mount design allows for efficient use of space, especially in professional audio installations where numerous devices need to be housed in a limited area.
Modularity and Scalability: Rack mount amplifiers can be easily added or replaced, allowing for flexible system configurations and upgrades.
Professional Reliability: These amplifiers are built to withstand demanding conditions, ensuring reliable performance even in challenging environments.
System Integration: The standardized 19-inch form factor ensures seamless integration with other rack-mounted equipment, simplifying installation and setup.
Conclusion: 19-inch rack mount amplifiers, or "endstufen," play a pivotal role in modern professional audio systems. Their compact design, versatile features, and application-specific configurations make them indispensable tools for sound reinforcement, recording, broadcasting, and beyond. As technology continues to advance, these amplifiers will remain at the forefront of the audio industry, delivering powerful and reliable performance to meet the ever-evolving needs of audio professionals and enthusiasts alike.
Donnerstag, 27. Juli 2023
TEST: Peavey IPR 1600
TEST: Peavey Invective
Whether Peavey had a fine nose at the time or possibly just luck, when they put an appropriately thick bundle of bills for the cooperation with Edward van Halen on the table, probably no one knows today. That after the separation from EVH, the technically identical 6 tops 6150 or 6505 should remain so strong on the guitarists wish list, Peavey probably surprised himself. Even today they are the models mentioned next to Marshall firmly in the gear park of any serious backline rental service as THE typical US metal sound to find. With the Peavey Invective manufactured in China, the American flagship company goes a step further and wants to raise a notch especially in terms of flexibility. Well then, let's be surprised.
The concept of the Peavey Invective
The Peavey Invective appears as a three-channel amp, whereby one can almost speak of 6 different sounds by means of a boost function, which is individually adjustable for all three channels both in terms of gain, as well as in the timbre via 2 pots each. The amp builds on all-tube technology, whereby as a typical representative of the US market of course no EL34, but the also universally popular 6L6 power tubes are used. As usual, these squeeze 5 watts more per glass bulb out of the amp compared to the EL34 and come to a total output of 120 watts.
The amp is based on the channel standard clean, crunch and lead, but you have to say goodbye to the sound of what is generally understood as "crunch". More about this later in the practical part. In terms of control options, the user really has a lot of potentiometers on the front and back. A total of 23 controls allow individual sound shaping, whereby the channels Crunch and Lead even share the tone control.
The structure of the Peavey Invective
First, let's start with the front panel from left to right. Compared to its predecessors, the Peavey Invective boasts a "real" clean channel for the first time, which, however, can ultimately be transformed back into a distorted channel by means of the boost section. For individual control, a three-band tone control is available in addition to pre- and post-gain, along with tone and gain controls for the boost section. This is followed by the manual channel change, which indicates the respective channel by three colored LEDs (green, orange, red). Channel 2 and 3 each have the option to use a noise gate and again share a boost section. The power amp also allows you to control the resonance and presence frequencies, before the master volume control finishes things off.
The rear panel is also quite intensive in terms of sound management. In addition to the IEC plug, main fuse and voltage selector switch (220/230V and 240V), the power selector switch in combination with the impedance selector switch causes the user to frown for the first time. The power of the Peavey Invective can be halved via a toggle switch. Probably, as usual, a pair of the power tubes held in the push/pull A/B circuit is switched off for this purpose. To compensate for this "mismatch" in the transformer, the selector switch must be set to double the ohms and matched with the cabinets.
So with 4 end tubes you can choose between the usual 4, 8 and 16 ohms. With the end tube bisection, 4 ohms now becomes 8 ohms, 8 ohms = 16 ohms, and 16 ohms = 32 ohms. This may be correct from a circuit point of view, but there are no 32 Ohm cabinets on the market! It would only be possible to connect 2x 16 Ohm cabinets in series, but I have never come across this circuit in my whole life. Of course, it is technically cheaper to place a single slider, but corresponding individual outputs would lead to more safety with regard to incorrect operation, especially since guitarists are not known for the perfect handling of Ohm's law.
The rest of the rear panel, on the other hand, puts a beaming smile on the tester's face. In addition to a balanced XLR Direct Out, the Peavey Invective has a switchable master volume, whose level can be adjusted on the back, there are 2 switchable FX loops and 2x 9V outputs with a total of 500 mA for appropriate floor FX pedals. Peavey probably assumes that many users like to place their pedals on or very close to the amp, so that 2 preset pedal presets can be called up via the loops. The fact that these can also be supplied with voltage is a highlight in terms of practicality. MIDI In/Out completes the rear panel of the Peavey Invective.
The accessories of the Peavey Invective
From the factory, the Peavey Invective comes without any manual or other bonus material such as a protective cover or the like, but a very comprehensive footswitch is included. A total of 10 switches, mounted in a solid steel housing, provide extensive remote control of the amplifier. The footswitch allows for stompbox switching, or it can manage up to 9 different presets. Whether the supplied multi-pin cable is long enough, everyone must decide for themselves, you can not simply extend it due to the proprietary assignment in any case not so simple.
The Peavey Invective in practice
In the various pre-announcements, Peavey has placed particular emphasis on the clean channel, especially since its predecessors quickly split the musician base in this regard into 2 camps. The clean channel of the Peavey Invective, on the other hand, should unite both camps, as it indeed leaves a good impression. It sounds warm, is quite resistant to overdriving and has enough headroom for an assertive sound.
The sound character changes abruptly as soon as the Boost channel is activated. The drive is set very high for a clean boost, so that you immediately find yourself in the crunch range. The sound becomes somewhat dull, but knows how to please as an additional sound option. The actual field of application of the Peavey Invective, however, reveals itself from the Crunch channel upwards. The amp was advertised in advance as the ultimate metal amp and I have rarely gotten my hands on a head that goes so uncompromisingly in this direction.
The basic character of the two channels Crunch and Lead leans on its predecessors of the 6 series, so the latent Scoop-heavy sound is no surprise. However, I do not really understand the uncompromising interpretation of the four sound options Crunch, Cruch Boost, Lead and Lead Boost. Already the Crunch channel is extremely highly compressed and has gain reserves that are not even reached elsewhere in the Lead channel. At the same time, the channel sounds a bit busy despite the strong treble content, which is to the detriment of the assertiveness. You can hear it in the attached sound file that the guitar struggles a bit in the band structure despite sufficient volume.
This basic tonal orientation continues in the other three stages, only the gain portion and the treble range continue to increase. For a heavy riff thunderstorm, especially in the downtuning range, these sounds are very well suited, but for me personally, the ultra-compressed sound pushes the individual playing culture too much in the direction of a lack of dynamic possibilities.
Another problem is the placement of the noise gate in the signal path. As it seems, the noise gate picks up the signal very early at the amplifier, possibly even right after the input jack. This means that any electromagnetic interference, which is picked up by the pickup and amplified by any pedals before the preamp, is well intercepted during pauses in playing. The inherent noise of the amplifier, however, is not eliminated, which is not clear to me. Especially in the lead channel, the amp is very noisy, so much so that during breaks in the performance, for example during an announcement by the singer, the channel has to be changed, or else it sets off nasty looks from the center of the stage. It must be said, unfortunately, such a noise gate makes no sense in my eyes, because it does not serve its purpose.
Conclusion
The Peavey Invective is an amp that has been uncompromisingly pushed in the direction of metal in terms of its orientation. The 6 basic sounds convince with a very good clean sound, a boosted clean sound for crunch sounds and 4 highly compressed metal sounds, which differ sonically primarily in the gain and treble starting point.
The amp leaves a fat scent mark especially in the downtuning area in terms of riff thunderstorms, but in my opinion it could have been raised much more flexible and open in sound due to its switching technical possibilities. Details such as a 9V power supply for floor pedals and the luxurious footswitch please the experienced musician, but the manufacturer should think again about the placement of the noise gate in the signal path.
Additional Informations:
Peavey Electronics Corporation - A Comprehensive Company Overview
Introduction: Peavey Electronics Corporation, commonly known as Peavey, is an iconic American manufacturer of musical instruments, audio equipment, and professional sound systems. Founded by Hartley Peavey in 1965, the company has grown from humble beginnings in a small Mississippi basement to become a globally recognized brand in the music industry. With an unwavering commitment to innovation, quality, and affordability, Peavey has consistently delivered products that cater to musicians, sound professionals, and audio enthusiasts alike. This comprehensive report delves into the history, products, contributions, and impact of Peavey in the world of music and sound.
Historical Background: Peavey Electronics Corporation was established in 1965 by Hartley Peavey, a young entrepreneur with a passion for electronics and music. The company's foundation was laid in Meridian, Mississippi, where Hartley started repairing and building audio equipment in his parents' basement. He was determined to create products that were not only exceptional in performance but also accessible to musicians of all levels. This vision became the cornerstone of Peavey's success.
2. Product Line: Peavey offers a diverse range of products that cater to various segments of the music and sound industry. Some of their key product categories include:
2.1 Musical Instruments: Peavey manufactures a wide array of musical instruments, including electric guitars, bass guitars, acoustic guitars, and drums. Their instruments are known for their robust build quality, great playability, and affordability, making them popular choices for both beginners and seasoned musicians.
2.2 Audio Equipment: Peavey's audio equipment division produces a vast range of amplifiers, mixers, speakers, and signal processors. Their amplifiers, in particular, have garnered a reputation for their reliability and power, making them a staple in live sound applications and recording studios.
2.3 Professional Sound Systems: Peavey is also a significant player in the professional sound system market, offering solutions for large-scale events, installations, and concert venues. Their line array systems and loudspeakers are renowned for their performance and clarity.
2.4 Specialty Products: Apart from musical instruments and audio equipment, Peavey has diversified its product offerings to include other items such as lighting systems, microphones, and specialty audio gear, further solidifying its presence in the professional audio industry.
3. Technological Innovations: Peavey's commitment to innovation has been a driving force behind its enduring success. Throughout its history, the company has introduced numerous groundbreaking technologies to the market. One notable example is the "TransTube" technology, introduced in the 1980s. This innovation allowed solid-state amplifiers to emulate the warm and rich tones of tube amplifiers, revolutionizing the guitar amp industry and earning Peavey immense praise from musicians worldwide.
4. Contributions to the Music Industry: Peavey's impact on the music industry extends beyond their products. The company has played a vital role in promoting music education and supporting aspiring musicians. They have actively sponsored various music programs, contests, and events, fostering the growth of musical talent across different genres.
5. Global Reach and Market Presence: Over the years, Peavey has expanded its reach and established a global presence. Their products are sold in numerous countries through a network of authorized dealers and distributors. Additionally, Peavey maintains a strong online presence, making their products accessible to customers worldwide.
6. Endorsements and Artist Relations: Peavey's reputation for producing reliable and quality gear has attracted endorsements from many prominent musicians and bands. Over the years, numerous artists, including renowned guitarists, bassists, and vocalists, have chosen Peavey products as an integral part of their sound.
7. Sustainability Initiatives: Peavey has taken steps to promote sustainability and environmental responsibility in their operations. The company has implemented eco-friendly practices in manufacturing, packaging, and waste management, aiming to reduce their carbon footprint and contribute positively to the environment.
Conclusion: Peavey Electronics Corporation has undoubtedly left an indelible mark on the music and sound industry. From its humble beginnings in a basement to becoming a global leader, Peavey's commitment to innovation, quality, and affordability has resonated with musicians, sound professionals, and audio enthusiasts worldwide. Their diverse product line, technological advancements, and contributions to music education have cemented their position as an iconic and influential player in the world of music and sound. With a legacy of success and a dedication to progress, Peavey continues to shape the industry and inspire musicians for generations to come.
TEST: Peavey Eurosys
It is interesting to observe, the technology develops with nice continuity, while the basic needs of the artist have not changed for decades. One of these basic needs is a transportable, well-made and yet inexpensive small P.A., which one can transport alone if possible or better in pairs in a minibus together with a clear backline. I don't know how many shows had to be canceled in my early days, because a willing pub or club promoter had been found, but did not have a house system and shied away from renting an external P.A. for cost reasons.
At that time, vocal systems consisted either of the infamous power mixers of the first hour, which with 2x 100 watts did not even bring the vocals home without clippings, or else Wämsern a la "Voice Of Theater", which alone with the bass bins called for a 7.5 tonner. Clear solutions in the style of two subwoofers plus powerful satellite solutions were at the time an unfulfilled dream, which should establish itself, however, only in the last decade as a fixed component of the sound reinforcement technology.
On the other side are the passive solutions, which want to be operated via external power amplifiers, but thereby also generate a higher flexibility along with a lower purchase price. Such a solution offers America's complete supplier Peavey with the Eurosys system. Various satellite and woofer concepts are offered for sale as individual components or as a system. So then, unpack, set up, connect, listen.
Construction
The Eurosys package consists of several individual components, which together form a passive small P.A.. Cables and power amplifiers must be ordered separately
In detail:
2x Eurosys 118 subwoofer
2x Eurosys 700 satellite speakers
2x PS-B distance rods
The Eurosys 118 subwoofer is, as the name suggests, equipped with an 18 inch speaker and has a maximum sound pressure of 97 dB (1W/1M). The manufacturer specifies 400 watts RMS at 4 ohms as the power rating. The possible frequency range is 38 - 250 Hertz, whereby the product does not have a crossover due to its design. As connections are two parallel-connected Speakon / jack as a combi jack.
The woofer is covered with a quite resistant textured paint, a perforated black grille protects the sound opening against unauthorized access. In addition, both the subwoofer and the satellites are delivered in durable protective sleeves, which protect against heavy scratches and light impacts. With the dimensions of 490 mm x 560 mm x 700 mm, the woofer is already designed as a decent case, which is also underlined by the weight of 34.5 kilograms. If you want to move the woofer alone, you should keep this in mind, especially since the woofer always has to be picked up from the floor. If you don't want to send your intervertebral discs packing, you can't do without a second person for adequate transport.
The matching Eurosys 700 satellites feature a 2-way system, which is composed of a 12-inch woofer and a 175T compression driver, with the driver's dispersion angle set at 90 degrees x 45 degrees. According to the manufacturer, the speakers have a sound pressure of 96 db and a power of 350 watts into 4 ohms. The same have the same textured paint on the surface and a corresponding protective grille. As expected, the speaker stand flange is located on the bottom of the cabinet.
As with the subwoofer mentioned above, the satellites are still in the moderate range with dimensions of 560 mm x 445 mm x 385 mm and a weight of 21.5 kilograms, but a second person is recommended for the assembly. On the rear, the speaker has the same connections as the subwoofer, i.e. Speakon/jack as a combo jack. Here, too, there is no possibility to set a crossover frequency and decouple the frequency response from the woofer.
Together with the subwoofers, the Eurosys set has a total power handling of almost 750 watts per side, which is enough to put pressure on a small club or a city festival. The factory setting of an impedance of 4 ohms, both for the subwoofer and the satellites, seems interesting here. This has the advantage that you can use the power of a connected amplifier optimally, but there is a risk of driving the amplifier down to 2 ohms in daisy chain operation. Especially the asymmetrical shape of the Eurosys 700 suggests a coupling of two satellites for lateral sound reinforcement, so you should always keep an eye on the minimum impedance of the power amplifiers.
Practice
The individual components of the set are quickly and easily assembled, provided one has the necessary strength to lift the satellites onto the distance rods. Otherwise, the entire setup is completely set up and ready to go in no time at all; it's hard to get a small P.A. up and running faster than that.
The individual components of the speaker arrangement make a very good impression in terms of workmanship, the handles fit snugly and at the optimal angle. The textured paint used doesn't leave any deep grooves or cracks, even when the components are used heavily, and thus maintains a high resistance to external influences.
The spacer bars in particular make a good impression. While many competitors often just use these components as a gimmick, Peavey has put a little more thought into this. The rods are black anodized, thus immune to the notorious flash rust and do not leave that unpleasant feeling when you handle steel or nickel tubes with bare hands. In addition, the smear of the hands is not as obvious as, for example, with nickel-plated tubes.
In practice, the combination of 18"/12" and tweeter horn has proven to be a generally capable combination for satellite/woofer operation. I personally miss with many 15" / driver satellites sometimes a midrange, which results from the inertia of the woofer. Therefore, the combination I have fits into the expected sound picture. The sound of the Eurusys system is quite neutral, which is suitable for almost all music genres. The highs and mids are surprisingly soft, and the bass range is defined. Of course, you can't expect the ultimate silkiness in the treble range or the very crisp punch in the bass in this price range, but in relation to the price, the Peavey setup is quite pleasing.
Of course, a lot depends on the crossover frequency selected at the power amplifier, especially in the bass range. Theoretically, you can also connect the individual components in parallel to a stereo power amplifier with 2 ohms impedance each, but this is not advisable from a sonic point of view. In this case, you only load the woofer of the satellite with an unnecessary bass component, which anyway falls under the management of the woofer. The better solution is undoubtedly the use of 2 stereo power amplifiers with a suitable crossover frequency, especially since the 4 Ohm operation guarantees sufficient power output.
Conclusion
The Eurosys P.A. set is a transport-friendly, effective, well-made and very reasonably priced solution for all those who want to create a simple setup without much effort. In cooperation with decent power amps and, if personally required, possibly an appropriate filter, the set manages a decent performance.
The set is suitable for bands, solo entertainers or DJs who want to start immediately without major installation work.
Additional Informations:
Peavey Electronics Corporation - A Comprehensive Company Overview
Introduction: Peavey Electronics Corporation, commonly known as Peavey, is an iconic American manufacturer of musical instruments, audio equipment, and professional sound systems. Founded by Hartley Peavey in 1965, the company has grown from humble beginnings in a small Mississippi basement to become a globally recognized brand in the music industry. With an unwavering commitment to innovation, quality, and affordability, Peavey has consistently delivered products that cater to musicians, sound professionals, and audio enthusiasts alike. This comprehensive report delves into the history, products, contributions, and impact of Peavey in the world of music and sound.
Historical Background: Peavey Electronics Corporation was established in 1965 by Hartley Peavey, a young entrepreneur with a passion for electronics and music. The company's foundation was laid in Meridian, Mississippi, where Hartley started repairing and building audio equipment in his parents' basement. He was determined to create products that were not only exceptional in performance but also accessible to musicians of all levels. This vision became the cornerstone of Peavey's success.
2. Product Line: Peavey offers a diverse range of products that cater to various segments of the music and sound industry. Some of their key product categories include:
2.1 Musical Instruments: Peavey manufactures a wide array of musical instruments, including electric guitars, bass guitars, acoustic guitars, and drums. Their instruments are known for their robust build quality, great playability, and affordability, making them popular choices for both beginners and seasoned musicians.
2.2 Audio Equipment: Peavey's audio equipment division produces a vast range of amplifiers, mixers, speakers, and signal processors. Their amplifiers, in particular, have garnered a reputation for their reliability and power, making them a staple in live sound applications and recording studios.
2.3 Professional Sound Systems: Peavey is also a significant player in the professional sound system market, offering solutions for large-scale events, installations, and concert venues. Their line array systems and loudspeakers are renowned for their performance and clarity.
2.4 Specialty Products: Apart from musical instruments and audio equipment, Peavey has diversified its product offerings to include other items such as lighting systems, microphones, and specialty audio gear, further solidifying its presence in the professional audio industry.
3. Technological Innovations: Peavey's commitment to innovation has been a driving force behind its enduring success. Throughout its history, the company has introduced numerous groundbreaking technologies to the market. One notable example is the "TransTube" technology, introduced in the 1980s. This innovation allowed solid-state amplifiers to emulate the warm and rich tones of tube amplifiers, revolutionizing the guitar amp industry and earning Peavey immense praise from musicians worldwide.
4. Contributions to the Music Industry: Peavey's impact on the music industry extends beyond their products. The company has played a vital role in promoting music education and supporting aspiring musicians. They have actively sponsored various music programs, contests, and events, fostering the growth of musical talent across different genres.
5. Global Reach and Market Presence: Over the years, Peavey has expanded its reach and established a global presence. Their products are sold in numerous countries through a network of authorized dealers and distributors. Additionally, Peavey maintains a strong online presence, making their products accessible to customers worldwide.
6. Endorsements and Artist Relations: Peavey's reputation for producing reliable and quality gear has attracted endorsements from many prominent musicians and bands. Over the years, numerous artists, including renowned guitarists, bassists, and vocalists, have chosen Peavey products as an integral part of their sound.
7. Sustainability Initiatives: Peavey has taken steps to promote sustainability and environmental responsibility in their operations. The company has implemented eco-friendly practices in manufacturing, packaging, and waste management, aiming to reduce their carbon footprint and contribute positively to the environment.
Conclusion: Peavey Electronics Corporation has undoubtedly left an indelible mark on the music and sound industry. From its humble beginnings in a basement to becoming a global leader, Peavey's commitment to innovation, quality, and affordability has resonated with musicians, sound professionals, and audio enthusiasts worldwide. Their diverse product line, technological advancements, and contributions to music education have cemented their position as an iconic and influential player in the world of music and sound. With a legacy of success and a dedication to progress, Peavey continues to shape the industry and inspire musicians for generations to come.
TEST: Peavey 6505 Piranha
Now that's what I call transportability! Who would have thought a few years ago that you could transport your guitar amp in a lunch bag. At least not me, especially if we assume power beyond the 0.5 watt limit. Peavey, on the other hand, has managed to squeeze up to 20 watts out of a pipsqueak with the Peavey 6505 Piranha, which, as the name suggests, has to follow in the biggest footsteps Peavey has ever left in the guitar sector.
It is almost 25 years ago that Peavey succeeded in a marketing-technical major offensive to get showcase tapper Eddie van Halen in the endorser boat, from whose cooperation the then 5150 Head was born. However, after EVH decided to market its naming rights under its own brand, the corresponding licenses to the 5150 trademark also expired, whereupon Peavey decided to continue marketing the elaborated model under the name 6505.
As before, the 6505+ enjoys an excellent reputation, especially in metal circles, which can be seen, among other things, in the fact that, in addition to the inevitable JCM series from Marshall for the British sound, the 6505+ is listed ahead of Mesa Boogie as the standard for the American sound by almost all backliners at many metal festivals around the world.
And now the same approach in only 82 x 178 x 132 mm, a weight of 1.13 kilograms and a price of under 200, - €? Now we all smile once extensively and devote ourselves to the facts, but which, it should be mentioned in advance, speak a very impressive language.
Construction
It should be clear to everyone that we are not talking about an all-tube head in the tradition of the firstborn with the dimensions mentioned above. A serious output transformer alone would put undue strain on the cabinet dimensions, not to mention the expected heat buildup of the power tubes. Therefore, as expected, a solid state power amplifier is used, which inevitably loses volume with increasing ohmic value of the cabinet due to its construction. Thus, the Peavey 6505 Piranha generates a power of 20 watts at 4 ohms, 15 watts at 8 ohms and only about 10 watts at a vintage cabinet of 16 ohms.
But if you think this volume isn't enough to compete with the friendly double bass drummer of your choice, you should do a field test with this Chinese-made midget on the spot. The little noise maker really makes a lot of noise at 4 ohms, and thanks to inear monitoring, volumes beyond this mark can only be found on large stages anyway. But if you now think you can hawk your stage amps on eBay without a care and already see the golden age of touring with the German railroad dawning, you should first consider the construction of the little predator.
Just three knobs on the front of the top give a very quick indication that this is not a multi-channel amp. Rather, Peavey has focused specifically on its target audience and this is now once in the hard rock and metal. First, you can choose in the preset of the sound by means of a mini-switch between Crunch and Lead, friends of the Clean channel will pull here crying from then. Although the Peavey 6505 Piranha reacts surprisingly "adult" to the volume control of the guitar and puts a very convincing dynamics in terms of distortion control on the day, but a "real" clean sound does not want and can not really arise. But why does the metal player need a clean sound? Exactly, for the plucked intro to the power ballad which is bludgeoned with five chords from the first chorus anyway. Therefore ...
Front
In addition to the gain control for the distortion level and the volume control for the final volume, Peavey spares the usual three-band tone control and replaces it with an EQ control, which when turned to the left, the notch sound (lowering mids, boosting bass and treble) often used in metal, and when turned to the right, fades smoothly to the mid-emphasized rock sound (full). Apart from that, the front also offers an AUX-IN for connecting an MP3 player or similar and a headphone output, which is fortunately available in 6.35 mm and not in the piddly mini jack version. Unfortunately, the headphone output doesn't have a speaker emulation, so you shouldn't be put off by the scratchy sound.
Rear
The back of the case is just as tidy. In addition to a simple push button for On/Off, the Peavey 6505 Piranha has a speaker out and a serial loop-in path, where you can place a volume pedal in addition to the most important modulation and room effects, for example, to raise the volume slightly in a solo without changing the sound of the amplifier. If the maximum volume of the head is not enough, you can also control an external power amp via send.
Finally, there is a socket for the included power supply. It is recommended not to install this power supply, because the required values with 30 volts at 1.0 ampere cannot be delivered by an average power supply. Even if the high voltages of an all-tube amp are not required to get the internally installed 12AX7/ECC83 tube to work, more than 9 volts at 100 mA is needed.
Practice
The transport of the tiny amp to small or medium applications is easily accomplished, as Peavey includes a simple transport bag for its protégé, in which the power supply also finds its place. Once connected, one finds his personal sound very quickly. As expected, nothing really works in the clean range. Vintage single coils with 7 KOhm or less can possibly get something clean-like from the head with moderate playing and half-open poti, but at the latest with a regular humbucker the first distortions flit over the crunch position.
Even for warm blues use there are more suitable playmates, the basic sound leans on the edgy and slightly scratchy basic sound of the 6505+ and leaves the flattering, soft mids rather in the background. However, if you want the forefather in pocket size, you are very well served by the Peavey 6505 Piranha. Despite the only rudimentary switching options, the amp reacts comparatively dynamically and adapts to the playing style of its master. The sound is very compact and yet not overly compressed, so that not every subtlety drowns in high-gain mud.
Nothing to complain about? Well, 2 points could / should / could have been changed. First, the amp is relatively strong noise, even at comparatively low distortion levels. Logically, the metaller is used to play with a noisy amp, but usually the noise decreases when you turn down the volume control. This is not the case here, because it is not the combination guitar-distortion-amp that is noisy, but the amp itself. In principle, not a real problem, you just have to be aware of it in advance.
To the would still be the on / off delay for the speaker. It doesn't exactly wham the diaphragm around your ears, but the impulse during the activation / deactivation of the amp does give a decent hit to the speakers.
Conclusion
With the Peavey 6505 Piranha, the American manufacturer brings the very, very small and quite inexpensive brother of the legendary 6505+ on the market. With minimal dimensions, Peavey manages to adapt the basic character of the big brother and generate a very portable solution for the hard rock / heavy friend.
Whoever manages to get a suitable box on site, can now only armed with a proper gig bag on the way to the next heavy show. It really doesn't get any more comfortable than this.
Additional Informations:
Peavey Electronics Corporation - A Comprehensive Company Overview
Introduction: Peavey Electronics Corporation, commonly known as Peavey, is an iconic American manufacturer of musical instruments, audio equipment, and professional sound systems. Founded by Hartley Peavey in 1965, the company has grown from humble beginnings in a small Mississippi basement to become a globally recognized brand in the music industry. With an unwavering commitment to innovation, quality, and affordability, Peavey has consistently delivered products that cater to musicians, sound professionals, and audio enthusiasts alike. This comprehensive report delves into the history, products, contributions, and impact of Peavey in the world of music and sound.
Historical Background: Peavey Electronics Corporation was established in 1965 by Hartley Peavey, a young entrepreneur with a passion for electronics and music. The company's foundation was laid in Meridian, Mississippi, where Hartley started repairing and building audio equipment in his parents' basement. He was determined to create products that were not only exceptional in performance but also accessible to musicians of all levels. This vision became the cornerstone of Peavey's success.
2. Product Line: Peavey offers a diverse range of products that cater to various segments of the music and sound industry. Some of their key product categories include:
2.1 Musical Instruments: Peavey manufactures a wide array of musical instruments, including electric guitars, bass guitars, acoustic guitars, and drums. Their instruments are known for their robust build quality, great playability, and affordability, making them popular choices for both beginners and seasoned musicians.
2.2 Audio Equipment: Peavey's audio equipment division produces a vast range of amplifiers, mixers, speakers, and signal processors. Their amplifiers, in particular, have garnered a reputation for their reliability and power, making them a staple in live sound applications and recording studios.
2.3 Professional Sound Systems: Peavey is also a significant player in the professional sound system market, offering solutions for large-scale events, installations, and concert venues. Their line array systems and loudspeakers are renowned for their performance and clarity.
2.4 Specialty Products: Apart from musical instruments and audio equipment, Peavey has diversified its product offerings to include other items such as lighting systems, microphones, and specialty audio gear, further solidifying its presence in the professional audio industry.
3. Technological Innovations: Peavey's commitment to innovation has been a driving force behind its enduring success. Throughout its history, the company has introduced numerous groundbreaking technologies to the market. One notable example is the "TransTube" technology, introduced in the 1980s. This innovation allowed solid-state amplifiers to emulate the warm and rich tones of tube amplifiers, revolutionizing the guitar amp industry and earning Peavey immense praise from musicians worldwide.
4. Contributions to the Music Industry: Peavey's impact on the music industry extends beyond their products. The company has played a vital role in promoting music education and supporting aspiring musicians. They have actively sponsored various music programs, contests, and events, fostering the growth of musical talent across different genres.
5. Global Reach and Market Presence: Over the years, Peavey has expanded its reach and established a global presence. Their products are sold in numerous countries through a network of authorized dealers and distributors. Additionally, Peavey maintains a strong online presence, making their products accessible to customers worldwide.
6. Endorsements and Artist Relations: Peavey's reputation for producing reliable and quality gear has attracted endorsements from many prominent musicians and bands. Over the years, numerous artists, including renowned guitarists, bassists, and vocalists, have chosen Peavey products as an integral part of their sound.
7. Sustainability Initiatives: Peavey has taken steps to promote sustainability and environmental responsibility in their operations. The company has implemented eco-friendly practices in manufacturing, packaging, and waste management, aiming to reduce their carbon footprint and contribute positively to the environment.
Conclusion: Peavey Electronics Corporation has undoubtedly left an indelible mark on the music and sound industry. From its humble beginnings in a basement to becoming a global leader, Peavey's commitment to innovation, quality, and affordability has resonated with musicians, sound professionals, and audio enthusiasts worldwide. Their diverse product line, technological advancements, and contributions to music education have cemented their position as an iconic and influential player in the world of music and sound. With a legacy of success and a dedication to progress, Peavey continues to shape the industry and inspire musicians for generations to come.
Montag, 24. Juli 2023
TEST: Peavey 6505 MH
"No, he's cute!" Well, the exclamation does not really do justice to a seasoned rocker and could escape from the appearance at most at the sight of a cute puppy, but what Peavey has brought with its Mini Head in the form of the Peavey 6505 MH on the market, inevitably triggers similar reactions in a guitarist.
Peavey, for many decades THE complete supplier of the American music market, had a harder time than expected in the guitar sector at the beginning of the company's history. Almost completely ignored by the European and Asian market, the products around company founder Hartley Peavey scored massively in the strongly traditional American Southern Rock. Bands such as Molly Hatchet or 38 Special carted whole truckloads of Peavey heads, cabinets and combos onto the stage at the time and, with the slightly shimmering, crunchy guitar sound, shaped a trademark of this music genre in the seventies.
With a major marketing offensive in the eighties, they succeeded in getting showcase tapper Eddie van Halen on board as an endorser, whose cooperation resulted in the 5150 Head, which is still very popular today. However, after EVH decided to market all other signature products under his own brand and thus the rights to use trademarks such as 5150 moved on, Peavey decided to continue to market the elaborated model under the name 6505. How successful this model is, especially in metal circles, can be seen, for example, in the fact that, in addition to the inevitable JCM 2000 series from Marshall for the British sound, the 6505 is listed ahead of Mesa Boogie as the standard for the American sound by all backliners at almost all metal festivals in the world.
Aware of the extended usage behavior of many musicians, Peavey has also not closed itself to the lunchbox class among the heads and brings with the 6505 MH the little brother of the fat Oschie on the market, knowing that even the offspring is always measured by the success of the firstborn. We are curious.
Design
"No, is the ..." yes we already had that. Indeed, the Peavey 6505 MH looks like a 6505 washed too hot. Appearance and handling are very much based on the firstborn, which is definitely a positive. With the dimensions (W x H x D): 490 mm x 300 mm x 325 mm, the Chinese-made pipsqueak is, however, only half as wide as its big brother, and it can also boast a weight of just under 8 kilograms, which can almost be described as ridiculous. This means that the amp can even be stored in a normal travel case, which makes it a perfect travel companion for musicians traveling by train or plane.
In terms of workmanship, there are no points of criticism. The black covering material made of Tolex is neatly glued, 8 corners made of steel sheet ensure an orderly distribution of force when hitting the edges, 4 strong rubber feet provide a firm stand. The perforated plate on the front seems to have the same hole diameters as the 6505, which leads to the fact that due to the smaller letters the lettering of Peavey is somewhat difficult and the model designation 6505 MH can no longer be read at all. Aware of this, Peavey has but on the underlying silver front panel the model designation again.
As mentioned above, the overall handling of the Peavey 6505 MH is identical to the 6505, which also affects the design and appearance of the controls. The small head is also an all-tube two-channel (3x 12AX7, 2x EL84, 20 watts), whose clean channel can be converted into a crunch channel via a mini-switch. This setup is very practical, because especially in the heavy range rarely more than 2 sounds are needed from the amp. Either you need a clean sound for a plucked intro (listens to the girl dragged along so much) or the obligatory middle part (the girl also finds nice), or you tear the crunch sound in terms of gain to the limit and play over it the rhythm stuff, whereby the volume control of the guitar still has additional influence on the distortion level down. The rest is played as expected over the lead channel, rhythm and solo, in the hope that the FOH does not forget again to drive the solo in the volume something.
Both channels share a three-band tone control as well as a reverb control, whereby, as with most other amplifiers, coil springs at the bottom of the cabinet are no longer responsible for the reverb. This work has long since been outsourced to a processor, which can smoothly mix in the emulation as needed. 2 separate volume controls manage the final volume of the channels, while the Presence and Resonance controls act on the tone control of the power amp. While in the past only the treble was in focus by means of the Presence control, the 6505 was also one of the first amps to introduce the Resonance control. The same control is supposed to simulate the resonance behavior of a 4x12 cabinet by influencing not only the bass, but also the compression behavior in the low bass range. The result is a much bassier and punchier sound than one would normally expect from an EL84 powered amp.
At the end of the front panel, the power and standby switches are located on the outer right, and two small LEDs above them provide information about their status. Standby = red glow, full throttle = green glow. Like most modern amplifiers, the Peavey 6505 MH is equipped with a power management, in Peavey trademark designation as T.S.I. (Tube Status Indication). If a power tube should go off during operation, which in the past would have inevitably meant the blowing of the microfuse and the temporary end of the show, nowadays said protection circuit ensures that operation is continued in Single Ended mode with simultaneous LED indication of the fault in the form of the color change of the LED. This calms the nerves immensely!
On the rear side, the user has a wide range of possible applications despite the limited space available. On the outer left, one first has the option to choose between 115 V or 220-230 V mains voltage. Very helpful if you actually want to pack the head in your suitcase and use it on the other side of the Atlantic. This is followed by the IEC plug and the main fuse. Following this is the only speaker output, which can choose between an impedance of 8 or 16 ohms. 4 ohms is senseless for the application area of this amp anyway, 2x 8 ohms, respectively 4x 16 ohms would only be possible with a distributor and the 4x12" cabinets, which can deliver 4 ohms, can always be switched to 16 ohms.
A power selector switch follows, which lets the amp run at 20, 5 or 1 watt. After that you can activate a speaker simulation called MSDI, which allows you to run the head without speakers (press SPKR button), a headphone jack and a ground lift for possible hum in the signal path. Then a serial effects loop, 2 footswitch inputs with a total of 4! Switching options (channel, boost, loop, reverb) and a USB port to play directly into the computer. All respect, a really rich offer for the dwarf!
Practice
The great art of the Lunchbox class is known to be flexibility. Preferably enough power to be able to illuminate a larger stage properly acoustically, but on the other hand please also a top sound as a bedroom amp. As a rule, these areas are diametrically opposed, i.e. either your amp blows your hat off on the open air stage, but has a basic volume that drives the fair wife out of the house, or your little Knuffel hums along pleasantly at 0.5 watts with the stereo, but immediately raises the white flag at the first snare beat. Difficult, difficult, if, yes, if an intelligent power management doesn't help the earpiece.
To say it up front, the Peavey 6505 MH is really, really far ahead when it comes to delivering a very full sound even at minimum volume. To the best of my knowledge, I've never come across an amp that still delivers a sound that allows for a dynamic response at the 1 watt setting. Here, on the other hand, you can entertain yourself while doing so and still have the amp respond to your playing style. Conversely, you can play complete hall gigs with the 20 watt setting, assuming you don't need ultra-clean sounds at Motörhead volume. In this case, the two EL84s are due to the design much earlier at the limit than the EL34 / 6L6 front.
In terms of sound, the head must be given a very excellent overall testimony. In addition to very dynamic and pearly clean sounds, it is as expected the entire distortion palette, which masters the Peavey 6505 MH with bravura. Despite the highest gain settings, the sound always remains defined, no mud, no paste, great cinema!
Conclusion
With the Peavey 6505 MH, America's flagship company in the field of instrumentation has brought a very outstanding product to the market. Rarely does a lunchbox amp manage to deliver such a high sound quality, from very, very quiet to really loud, without one or the other practical area falling by the wayside. Without wanting to belittle the quality of the clean sound, one must refer primarily to the crunch and lead range, which to all appearances has benefited more than just incidentally from the long development of its big brother, the 6505.
Who is looking for a very good sounding all-tube rock amp, which also allows the transportability of a culture bag, can not get past the Peavey 6505 MH. A very hot contender for the top spots of the "Product of the Year 2015" in the amplifier sector!
Additional Information:
Peavey Electronics Corporation: Pioneering Amplification and Sound Reinforcement
Introduction:
Peavey Electronics Corporation is an American company renowned for its pioneering contributions to the world of musical amplification and sound reinforcement. Founded by Hartley Peavey in 1965, the company has since become a dominant force in the industry, manufacturing a diverse range of products, including amplifiers, guitars, basses, mixers, speakers, and other audio equipment. This report provides a comprehensive overview of Peavey Amps, its history, innovations, and enduring impact on the music industry.
Founding and Early Years:
Hartley Peavey, an avid musician and entrepreneur, established Peavey Electronics Corporation in 1965 in Meridian, Mississippi. From its humble beginnings, the company's primary focus was on producing high-quality and affordable musical instruments and audio equipment, with a commitment to meeting the needs of musicians of all levels.
Innovations and Technological Advancements:
Peavey Electronics has been at the forefront of audio technology innovation, introducing groundbreaking features and advancements in their amplifiers and audio gear.
The Transtube Technology: One of Peavey's most significant innovations was the development of Transtube technology in the late 1980s. This revolutionary circuitry emulated the organic distortion of tube amplifiers in solid-state amplifiers, offering musicians an affordable alternative with a warm and dynamic sound.
Versatility in Amplification: Peavey Amps cater to a wide range of musical styles and applications. From the classic tube amplifiers like the Peavey 6505 series, favored by heavy metal musicians, to the versatile and powerful modeling amplifiers like the Vypyr series, Peavey offers options to suit various musical preferences.
Powered Mixers and Sound Reinforcement: Peavey is also renowned for its expertise in sound reinforcement equipment, manufacturing powered mixers, PA systems, and speakers. Their audio gear is widely used in live performances, concerts, and installations around the world.
Artist Collaborations and Endorsements:
Over the years, Peavey has collaborated with numerous artists and musicians to develop signature amplifiers and equipment tailored to their specific needs and playing styles. Notable artists associated with Peavey endorsements include Eddie Van Halen, Joe Satriani, and Hartley Peavey himself.
Commitment to Quality and Manufacturing:
Peavey Electronics has maintained a strong commitment to producing high-quality, durable, and reliable equipment. The company's manufacturing facilities in the United States have played a crucial role in ensuring strict quality control and craftsmanship.
International Presence and Impact:
Peavey's reach extends beyond the United States, with a global distribution network making their products accessible to musicians and audio professionals worldwide. The affordability and reliability of Peavey equipment have made it a popular choice for musicians, bands, and audio technicians in various regions.
Involvement in Music Education:
Peavey Electronics has also shown a commitment to music education by offering support to various music programs and initiatives. The company's efforts to promote music education reflect their dedication to nurturing the next generation of musicians and audio professionals.
Conclusion:
Peavey Electronics Corporation's journey from a small Mississippi-based startup to a globally recognized leader in the audio industry is a testament to the company's commitment to innovation, quality, and meeting the needs of musicians. Through their pioneering technological advancements, diverse product range, and contributions to music education, Peavey Amps has significantly shaped the world of amplification and sound reinforcement, leaving an enduring impact on the music industry. As they continue to evolve and adapt to new trends and challenges, Peavey remains a trusted name and a go-to brand for musicians seeking reliable and versatile amplification solutions.
TEST: PRS McCarty Korina
Paul Reed Smith has polarized musicians into two diametrically opposed camps ever since his company was founded. Some appreciate the guitars equipped with high-quality components and first-class workmanship as one of the best products that has ever brought forth the electric guitar construction, others dub the instruments due to their high-price segment and their sometimes sprawling appearance as "dentist guitars" or "living room tables" with a lack of independence.
The McCarty Korina I have for testing is not going to make the aforementioned camps break out in a collective frenzy of joy, but the initial appearance is much more moderate than some of the visually upscale Private Stock models. Although the living room table....;-)
By the way, the McCarty series was named after Theodore "Ted" McCarty, who, although never a musician himself, became president of Gibson Guitars in 1950 and is considered the mentor of Paul Reed Smith. Under his leadership, Gibson was reportedly able to increase its profits fifteenfold due to various groundbreaking inventions, such as the Tune-o-matic Bridge.
Construction:
PRS tried then, as now, to find a middle ground between the two major protagonists Gibson and Fender with its instruments. Also with the McCarty model these two worlds meet again and are partly merged, partly worked off in individual parts.
Let's start with the choice of wood, which clearly carries the Gibson lead. The used body and neck wood Korina, a mahogany subspecies, was strictly protected due to massive overexploitation a few decades ago and was not allowed to be used in instrument making for years. Through appropriate reforestation measures, however, the stock could be saved and is now available again for instrument making.
Korina is an extremely light mahogany species, which also comes into its own in this PRS. You wouldn't think it was mahogany when you take the guitar out of the case (which is many times heavier) that comes with it. For musicians who always wanted to play a Paula but found the weight too "manly", Korina is an adequate substitute.
The body shape, on the other hand, undoubtedly has the famous Strat touch, which is also noticeable in the subtle shaping on the back, the front (violin shaping) and a very practical hollowing out in the lower cutaway for playability in high registers.
The neck, equipped with a rosewood fingerboard, is made in the so-called "fat neck" shaping. One should not be misled here, the neck is quite practically executed, only the "meat content" is somewhat higher than on other necks. For someone like me, who anyway considers half of a baseball bat as a "normal" neck shape, this neck is even rather slim ;-)
The fretboard inlays of the twenty-two frets are done as bird inlays and in abalone, where I think you have to have a bit of abstracting ability. Some of the birds are really easy to spot, the kite from the 3rd fret, the hummingbird in the 7th fret, even the buzzard in the 12th fret is very obvious, but what the "flatsch" in the 21st fret is supposed to represent is beyond me. Maybe one of the readers can help me out.
A really innovative invention by PRS was the 25" scale (63,5 cm). It represents a middle ground between the short (Gibson) scale (62.5 cm) and the long (Fender) scale (64.8 cm) and allows both camps of musicians to get along on a PRS immediately.
In terms of hardware, in addition to six vintage style tuners with plastic wings, the McCarty has a special piece of work, the wraparound bridge. This is a solid piece of metal, in which the string guide together with the different support points regarding the octave purity was milled based on experience. The only adjustments are two large lateral guide screws (height) and two grub screws inserted from behind (string length).
The advantage of such a construction is the mass of the component, which also has virtually no moving parts. As is usually the case with solid bridge construction (see also bass construction), this makes itself felt in very good vibration behavior and long sustain.
The disadvantage of this bridge variant is the lack of flexibility of the support points. Even if about 90% of all string constellations are covered with this tailpiece in terms of optimal adjustability, so you should be aware that corresponding custom sets with non-linear string gauges, or even a 012 or 013 set with wound G-string, in terms of octave purity with this bridge is not to adjust!
As pickups, two in-house humbuckers are used, which were provided with chrome caps and sit in cream-colored frames. A 3-way toggle sandwich takes over the selection of the pickups. The tone control is a push/pull pot and switches the humbuckers to single coil mode when needed.
Practice:
The PRS McCarty Korina is a real sustain monster! You just have to put it this way. Since the entire design is trimmed exclusively for vibration preservation and resonance shaping, this is not surprising, but the fact that the intensity extends across the entire tonal spectrum without any dips amazes even me.
Sound-wise, the PRS offers great cinema in almost every facet. Warm, clean sounds with the necessary humbucker depth are just as possible as pearly, sometimes crisp single-coil sounds. Here it is interesting to hear how the Korina wood used, even in single-coil mode, does not octave the instrument the low-mid board known from other mahogany woods.
I also very much like the practical shaping, especially the cutaway milling cannot be appreciated enough. Compared to the traditional Les Paul "hau-ruck" milling, the sun really rises here.
The playability of the fat-neck is good, the dressing of the medium-strength frets is very clean and always sustain, sustain, sustain.....
Conclusion:
Let's make it short, the PRS McCarty Korina sounds excellent! Especially clean and crunchy sounds suit this high-quality instrument very well. Vibration behavior and workmanship are exemplary, the components used first choice, end, end, basta!
Is there nothing at all "bad" about the guitar, apart from its (albeit justified) selling price? Well, it depends on which camp you belong to (see the beginning of the article).....;-))) Even if dirty rock'n'roll with this guitar is undoubtedly technically and sonically possible at a high level, can you imagine a really scratched PRS with played-off varnish and beer stains on the top……?
Additional Informations:
- Company Profile: Paul Reed Smith Guitars
Introduction:
Paul Reed Smith Guitars, often abbreviated as PRS Guitars, is an American guitar manufacturing company known for producing high-quality, custom-built electric guitars and amplifiers. Founded by luthier Paul Reed Smith in 1985, the company has earned a reputation for its exceptional craftsmanship, innovative designs, and commitment to producing instruments that cater to the needs of professional musicians and guitar enthusiasts worldwide.
Founder and History:
The story of Paul Reed Smith Guitars began in 1985 when Paul Reed Smith, a skilled luthier and musician, decided to turn his passion for building guitars into a business venture. With the vision of creating instruments that combined the best features of vintage and modern guitars, Smith started his workshop in Annapolis, Maryland.
Having studied the work of renowned guitar makers like Ted McCarty (Gibson) and Leo Fender (Fender Musical Instruments Corporation), Smith honed his skills and aimed to create guitars that offered impeccable playability, flawless tone, and striking aesthetics. The dedication to excellence and the constant pursuit of perfection became the hallmark of PRS Guitars.
Innovations and Signature Features:
From the outset, PRS Guitars set out to innovate the guitar industry, and over the years, they have introduced several signature features that set their instruments apart from the competition.
The PRS Custom 24: One of the most iconic models, the PRS Custom 24, debuted in 1985, featuring a double-cutaway design, 24 frets, and a combination of humbucker and single-coil pickups. This model became the cornerstone of PRS Guitars' lineup.
PRS Bird Inlays: Recognizable on their fretboards, the bird inlays are elegantly designed, adding a touch of sophistication to PRS instruments.
PRS Tremolo System: PRS developed its patented floating tremolo bridge, which offered exceptional tuning stability and smooth operation.
PRS Pickups: PRS designed their own pickups, ranging from vintage-inspired to modern high-gain styles, allowing players to achieve a diverse range of tones.
PRS-Designed Hardware: Attention to detail is evident in the custom hardware and components designed by PRS, ensuring both aesthetics and functionality.
Artist Collaborations:
PRS Guitars has collaborated with numerous renowned artists over the years, creating signature models tailored to each musician's unique style and preferences. Some notable collaborations include Carlos Santana, Mark Tremonti, John Mayer, and Dave Navarro, among others. These partnerships not only expanded PRS's presence in the market but also helped refine and improve their guitar designs through artist feedback.
Factory and Production:
The PRS factory is located in Stevensville, Maryland, where the company has invested in state-of-the-art manufacturing facilities. While the brand continues to produce custom-built instruments, they have also introduced several product lines that cater to a broader audience, including the PRS SE (Student Edition) line, manufactured in Korea, and the S2 series, produced in the USA.
Quality Control:
One of PRS Guitars' core principles is an unwavering commitment to quality control. Every instrument is subjected to a rigorous inspection process to ensure that it meets the brand's strict standards for playability, tonal excellence, and overall craftsmanship.
Community Engagement:
Beyond manufacturing exceptional instruments, PRS Guitars actively engages with the guitar-playing community through events, workshops, and support for various music education initiatives. They often participate in major music trade shows and exhibitions, showcasing their latest models and connecting with musicians and enthusiasts worldwide.
Conclusion:
In conclusion, Paul Reed Smith Guitars has carved a prominent place in the guitar industry through their dedication to craftsmanship, innovation, and commitment to meeting the diverse needs of musicians. Their instruments are cherished by both amateurs and professionals alike, making PRS Guitars a leading name in the world of electric guitars. With a rich history of innovation, artist collaborations, and a passion for music, PRS Guitars continues to be a driving force in shaping the future of guitar manufacturing and the art of music.
- The Legacy of Ted McCarty: A Pioneer in the Guitar Industry
Introduction:
Ted McCarty, a visionary and innovator in the guitar industry, played a pivotal role in shaping the landscape of modern electric guitars. Born on November 15, 1909, in Somerset, Kentucky, McCarty's contributions to iconic brands such as Gibson and his relentless pursuit of excellence left an indelible mark on the world of music. This report delves into the life, achievements, and enduring impact of Ted McCarty in revolutionizing guitar design and manufacturing.
Early Life and Career:
Ted McCarty's early life was marked by a love for music and an inherent curiosity about mechanics. Raised in rural Kentucky, he developed a passion for playing the banjo and guitar, which would later fuel his enthusiasm for instrument design. After graduating high school, he attended the University of Cincinnati to study mechanical engineering, laying the foundation for his future accomplishments.
Gibson Era:
In 1948, Ted McCarty joined the Gibson Guitar Corporation as its president, a position he held until 1966. During his tenure at Gibson, he transformed the company into an innovative force within the guitar industry.
The "Golden Era" of Gibson: Under McCarty's leadership, Gibson experienced what is often referred to as the "Golden Era." He oversaw the design and release of some of the most iconic and influential guitar models, including the Les Paul, ES-335, SG, and Flying V.
Humbucking Pickup Invention: Ted McCarty collaborated with engineer Seth Lover to develop the humbucking pickup, which significantly reduced unwanted noise and hum in electric guitars. The humbucker became a standard feature in many Gibson models and remains popular to this day.
Thinline Semi-Hollowbody Design: McCarty's keen eye for innovation led to the creation of the ES-335, a semi-hollowbody guitar that combined the best attributes of solid-body and hollow-body designs. This model became a favorite among many guitarists for its versatility and tonal richness.
Tune-O-Matic Bridge: Another groundbreaking innovation was the introduction of the Tune-O-Matic bridge, a design that allowed for precise intonation adjustments and improved sustain. This bridge design remains widely used in various guitar models.
Legacy Beyond Gibson:
After his departure from Gibson, McCarty's passion for instrument design did not wane. He went on to co-found the Bigsby Guitar Company with Paul Bigsby, producing vibrato systems that further enhanced guitar playability.
Recognition and Awards:
Ted McCarty's achievements and contributions to the guitar industry did not go unnoticed. In 1983, he was rightfully inducted into the Country Music Hall of Fame, recognizing his significant impact on the world of music.
Conclusion:
Ted McCarty's life and work are a testament to the power of innovation and passion in transforming an industry. Through his groundbreaking designs, inventions, and leadership, he forever altered the course of guitar manufacturing, leaving behind a legacy that continues to inspire and shape the way we play and appreciate music. His innovative spirit and commitment to excellence serve as a timeless reminder of the profound impact one individual can have on an entire industry and the world of music.
TEST: PRS Custom 24 RW CB
Has it really been that long? It's demoralizing when a manufacturer's product maintenance rubbed the flight of time in your face. This has just happened when I hold the Custom 24 from PRS in my hands for testing. With this very model, the perhaps unique career of Paul Reed Smith began in 1985, the same guitar was the first of its kind at the music fair in the same year.
The until then always strived for fusion of classic Fender and Gibson features had hit the mark for the first time and was absorbed by the mass of guitarists like water from a dry sponge. Let's see to what extent the current version of the classic stands up to the competition, which has not diminished in the meantime. Unfortunately, the instrument is not offered as a left-handed model, but a very massive case is included.
Construction:
To lose further words about the body shape would be carrying owls to Athens. PRS has actually managed over the decades to peel out next to the big seven from the USA (5x Gibson - LP, SG, Explorer, Flying V, Firebird and 2x Fender - Strat, Tele) as one of the protagonists in terms of solibody body shape. This underpins the unbroken high popularity of the instrument among musicians.
As for the woods, once again the principle adopted by Gibson of the one-piece mahogany body with glued maple top prevails, of course not without the Fender look in terms of double cutaway and shaping. As always in this price range, very beautifully grained maple was taken for the top, which again supports the depth gradation through selective staining. The top is available in flame or quilted maple. The neck can also be equipped with an Indian Rosewood neck or a Pattern Thin neck profile.
The instrument is lacquered with a new lacquer called V12, which, according to the manufacturer, took 12 years to develop and which aims to make use of the best properties of acrylic and nitro lacquers respectively, i.e. the low vibration damping of the nitro lacquer and the increased protective effect of the acrylic lacquer. The neck, made from a single piece of mahogany, joins the body at the 22nd fret and is glued in place. The neck shape comes with a pleasant amount of mass without looking clunky. As expected, the traditionally used Bird Inlays and the Low Mass Locking Tuners are again used on this guitar.
A really innovative invention in my eyes was the 25" scale length (63,5 cm) established by PRS. It represents a middle ground between the short (Gibson) scale (62.5 cm) and the long (Fender) scale (64.8 cm) and allows both camps of musicians to get along immediately on a PRS.
Two in-house 59/09 humbuckers are used as pickups, which sit in cream-colored frames. Both pickups have the same Alnico mixture in their magnets, but are wound differently depending on the point of use on the body. Both pickups are switched via a 5-way switch, which allows the following circuits:
Pos. 1 - Bridge pickup alone
Pos. 2 - Bridge pickup together with single coil of the neck pickup
Pos. 3 - Bridge and Neck Pickup together
Pos. 4 - Neck pickup together with single coil of bridge pickup
Pos. 5 - Neck pickup alone
In addition, the instrument has a master volume and a master tone control. From the Fender league, the now almost equally famous PRS vibrato system is used, which at its time knew how to give the musician a real Strat vibrato feeling, but designed with a much better tuning stability and smoother movement. For the rest, the guitar is perfectly crafted and gives no reason for even any criticism of the craftsmanship.
Practice:
If you take the guitar in your hand, the first thing that strikes you is the very low weight of maybe 3.5 kilograms, despite a real mahogany battle. Older gentlemen or weight-sensitive minds will appreciate this condition. When you touch the neck of the guitar for the first time, it becomes immediately clear why Paule and his instruments were able to hold their own against the giants of the industry before he became one himself.
The guitar is really well balanced in its overall appearance and sound. Even with the forefathers of the electric guitar like Strat or Paula, which I hold in high esteem, there are always areas where you have to struggle, where wood edges get in the way, where the tone has to be fought for or where you have to have hands as big as toilet lids a la Steve Vai. Here, however, there is no area where the sound does not find its way into the speakers as if by itself.
The perfectly shaped body always takes itself back exactly where you want to go, nothing presses, nothing jams. Likewise, the neck, which is fleshy enough, provided with appropriate mass, takes a large part in shaping the tone, but still does not confront smaller hands with the stick fraction. Unlike the original model almost 25 years ago, the current pickups generate a much more acoustic sound, which does not compress the natural vibrations of the wood to death, but allows it to breathe better.
Both neck and bridge pickups leave a very open sonic impression, made for mainstream to powerful crunch. Chord playing remains transparent, crisp at times, and doesn't tend to muddy even with more powerful levels of distortion. The guitar proves a lot of character in all registers and in all distortion ranges, paired with a very independent basic sound.
The conception of the vibrato system is also convincing. Please keep in mind that this is not another edition of a knife-edge dive-bomb monster, but a systematic extension of the vintage Fender system. The action is softly set with the necessary degree of resistance to be able to use the pitch modulations in a targeted manner. Exactly the degree of haptics to allow the personal game the necessary expansion.
All in all, it must be said that this instrument is a very high-quality version of the model. Processing, implementation of the concept and the detail solutions are at the highest level and live up to the reputation of PRS across the board.
Conclusion
The Custom 24 from PRS is and remains one of the flagship models in the now very rich product range of the manufacturer. the model, which was introduced almost a quarter of a century ago, has undergone several improvements in the course of its career and is now in the Champions League in almost every respect.
The changed points such as new varnish, new pickups and the neck profile swept again give the instrument, which was already very good in its original version, a few extra points. That such an instrument with a manufacturing in the USA has of course also its price, the experienced musician will take without grumbling to the knowledge. As long as we are willing to pay gas prices of almost 2 € per liter, the price is always put into perspective. Just do not fill up the car 20 times and the guitar is yours.
Additional Informations:
PRS Guitars - Crafting Excellence in the World of Musical Instruments
Introduction:
PRS Guitars, short for Paul Reed Smith Guitars, is a prestigious American guitar manufacturer renowned for its exquisite craftsmanship, high-quality materials, and innovative designs. Founded in 1985 by Paul Reed Smith, the company has established itself as a major player in the competitive musical instrument industry. With a strong focus on producing high-end electric guitars and amplifiers, PRS has earned a dedicated global following among professional musicians and enthusiasts alike.
1. Company History and Founder:
The journey of PRS Guitars began with its founder, Paul Reed Smith, who developed a passion for music and guitar-making from an early age. Born on February 18, 1956, in Bethesda, Maryland, Smith's fascination with guitars led him to experiment with creating his own instruments during his teenage years.
In 1985, after years of refining his craftsmanship and gathering valuable insights, Paul Reed Smith officially launched his guitar company. Initially operating out of a small workshop in Annapolis, Maryland, PRS Guitars quickly gained recognition for its distinctive designs and impeccable attention to detail.
2. Vision and Philosophy:
At the core of PRS Guitars' philosophy lies a commitment to excellence in every aspect of their instruments. The company strives to create instruments that inspire musicians to reach new heights of creativity and expression. Their vision is to bridge the gap between traditional guitar designs and modern innovation, catering to a wide range of musical genres and player preferences.
PRS Guitars places a strong emphasis on handcraftsmanship, combining traditional techniques with cutting-edge technology to ensure that each guitar is meticulously built to perfection. They believe that every instrument should be a work of art that embodies the passion and dedication of the skilled luthiers who create them.
3. Product Range:
PRS Guitars offers an extensive range of electric guitars, catering to various playing styles and tonal preferences. Their iconic models include the Custom 24, Singlecut, McCarty, and SE series, among others. Each model showcases unique designs, premium materials, and versatile electronics that appeal to a wide spectrum of musicians.
Aside from guitars, PRS also manufactures top-notch amplifiers and guitar accessories, further solidifying its position as a comprehensive brand for discerning musicians.
4. Artist Collaborations:
One of the key factors contributing to the success of PRS Guitars is its collaborations with world-renowned artists. Over the years, numerous legendary musicians and guitarists have endorsed and used PRS instruments on stage and in the studio. Notable endorsers include Carlos Santana, John Mayer, Mark Tremonti, and David Grissom, among many others. These partnerships have not only elevated the brand's visibility but have also led to the development of signature model guitars tailored to suit the specific needs of the artists.
5. Innovations and Technological Advancements:
Innovation is a constant driving force behind PRS Guitars. The company continuously explores new technologies and materials to enhance the performance and playability of their instruments. From the proprietary PRS tremolo system to the versatile electronics configurations, they are committed to pushing the boundaries of guitar design.
Moreover, PRS actively engages in research and development, collaborating with engineers, luthiers, and musicians to ensure that their products remain at the forefront of the ever-evolving music industry.
6. Manufacturing Process:
The production of PRS Guitars involves a combination of modern machinery and skilled handwork. The company's state-of-the-art factory in Stevensville, Maryland, spans over 150,000 square feet and houses dedicated departments for wood preparation, guitar assembly, finishing, quality control, and more.
Skilled artisans work meticulously to shape and assemble each guitar, paying close attention to every detail, from the selection of premium tonewoods to the application of immaculate finishes. The careful craftsmanship ensures that every PRS instrument meets the highest standards of playability, aesthetics, and tone.
7. Social and Environmental Responsibility:
Beyond their dedication to craftsmanship and innovation, PRS Guitars is also committed to social and environmental responsibility. They source their tonewoods from sustainable and responsible suppliers, and the company actively engages in initiatives to minimize waste and reduce their environmental impact.
Furthermore, PRS supports music education programs and charitable organizations that promote access to music for aspiring musicians and underserved communities.
Conclusion:
With over three decades of experience, PRS Guitars has earned its place as an industry leader, revered by musicians worldwide. Their unwavering commitment to craftsmanship, innovation, and artist collaborations has resulted in iconic instruments that continue to inspire generations of musicians. As the company continues to evolve, it will undoubtedly remain at the forefront of the guitar-making industry, contributing to the world of music with its timeless creations.