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.