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Hundreds of ideas coming from professional musicians, music dealers and field technicians as well as our own staff musicians and electronic/mechanical engineering groups were discussed, evaluated and “distilled" into a concise set of specifications which formed the basis for the new Session». As the project progressed, we were able to draw from our experience gained in allied areas such as sound reinforcement amplification and the design of new loudspeakers made from the “ground up” in our own speaker/transducer laboratories. The basic amplifier/speaker system was “road tested” for several months as a "bare bones" prototype and the input we got was that sven with the increased power and dynamic range available from the amplifier, the amp could still be overloaded, especially when heavy "power chords” and excessive pedal action were used. During this same period of time, another R & D team had been working on the special problems of compression related to sound reinforcement power amps....It was natural for the two R & D teams to combine their efforts and apply our newly developed "Distortion Detection Technique" compression circuitry (patent pending) to-even further improve ind enhance our musical instrument amplifiers. The resulting power amp used in the Session® features DDT® compression that virtually liminates amplifier clipping with the resulting harsh harmonics and speaker problems that are often encountered when the amplifier is Iriven into hard clipping and square waves are delivered to the speaker system. The new Session® tone controls retain many of the equalization characteristics of the old Session® but now include a unique “state ariable" midrange equalizer that enables both boost and cut, as well as shifting of the center point of the midrange equalizer. This :apability further enhances the tremendous tonality and dynamic range available from the Session® 500. To further satisfy the needs of the touring professional, we have designed a variable electronic crossover into the Session’s® signal processing circuitry to allow bi-amping the system through auxiliary power amps/speaker systems. By including this "state variable" /ilter/crossover, we have enabled the Session® 500 to be the “heart” of a bi-amped system capable of performance heretofore unmatched in musical instrument amplification. It has been recognized for many years that the traditional steel guitar/volume pedal/amplifier arrangement commonly used is definitely not the most ideal setup. Analysis showed that certain relatively minor circuit revisions, including some novel gain balancing circuitry, could actually allow the volume pedal to be inserted into the amplifier itself, thus tremendously increasing the overall performance of the system from the standpoint of dynamic range, noise, and freedom from tonal change as the volume pedal is moved throughout its range. For the first time, the Session® 500’s innovative circuitry removes the loading effects and resulting tonal changes caused by the volume oedal's interaction with the instrument's pickup. Musicians onstage and in the studio are constantly faced with the problem or “micing' tneir amplifiers, or using what is popularly referred to as “direct boxes,” to get the signals from their instruments into a form compatible with studio or sound reinforcement mixing consoles. In recognition of the fact that the console should be fed a direct signal that corresponds as closely as possible to what’s being heard through the speaker system, Peavey has designed a transformer balanced line amplifier with roll-o.f characteristics virtually identical to those encountered in high powered musical instrument loudspeakers. This unique circuit enables a balanced line level signal output to be obtained from the Session® that closely matches what is being heard from the speaker to be fed to the mixing console....without the use of auxiliary devices such as direct boxes, micing the amp with the additional problems of extraneous noises, feedback, etc., etc. Further comments from the field indicated the desire for an advanced phasor system that would allow enhanced phasing effects with sufficient range to create and/or simulate the many flange/phasing effects being used in contemporary music. Our circuitry utilizes the latest in semiconductors and computer-aided design techniques and enables a tremendous range of effects from slow, almost imperceptible effects to deep "swooshing” effects so characteristic of studio phasing/flanging units. The extreme range of the phase oscillator yields rates from extremely slow to rapid variations characteristic of tremolo or vibrato. Another feature often desired by professional steel men is a distortion/string effect with built-in expander and noise gate to allow virtually infinite sustain with a very quiet standby operation. This circuit can create harmonic effects similar to fiddles as well as previously unavailable string/sustain effects. After considerable in...
Ce manuel est également adapté pour les modèles :Instruments de musique - Session 500 (2 mb)