SESSION 400/LTD OWNERS MANUAL WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture.For years steel guitarists have looked for a high powered, compact amp that could handle the tremendous ‘dynamic range produced by the steel guitar. Our engineers and musicians have spent years researching this par- ticular problem and have designed and produced the most advanced amplifier on the market for the stee! guitar, the Peavey “Session 400°. The Session is adaptable to guitar, violin or any instrument that requires an extremely wide frequency range. ‘The Session 400 is a relatively small, highly portable unit that delivers 200 watts (RMS @ 1% THD). Powered by six high eneray power devices on a massive heatsink providing both power and durability, the Session can handle anything a steel can reasonably dish out without distortion or “cracking’ This new unit features controls for volume, presence, middle, middle shit, treble, bass, reverb, tremolo, and master sensitivity. Tremolo and reverb are standard on the Session. As with any complex system, your Session must be ad- |usted properly to achieve the desiced sound, Please read the explanation cf each control and become familiar with the effect and capability of each function, ‘The Input jacks( 1 ) are arranged in @ unique circuit that allows @ wide range of input levels to be handied by the Session. Input "1" is the high gain input and should normally be used when plugging in your instrument. Input "2" is the low gain input and should be used if 3 from your instrument tends to overload (distort) the preamp. If two instruments are used and both jacks "1" are used, the circuit automaticaly balances the gain ct the two Inputs so thal the sensitivity of both are identical. ‘The volume control{ 2 ) sets the gain of the input preamp, thereby convolling the sensitivity of the preamp, rot the power of the amp. tis entirely possible for the amp to be driven to full power output a very low gain settings it the signal from your instrument is extremely high. Please remember that the volume control does NOT indicate power output, but the GAIN af the preamp. ‘The trable control{ 3 ) is part of an electronic crossover and may be considered as a level control for treble frequencies. These variable feedback type tone controls are capable of providing a cut, as well as, a boost, Because the treble control is a volume control for treble frequencies, i is a good practice to operate this control close to fully clockwise for maximum benefit and volume. Experimentation will allow the player to find the level that works best for his preference in tone, “The bass control « ) Is also part of an electronic crossover that forms the fone circuit and works as a level for the bass frequencies. The bass control provides for both a boost and a cut in bass response. Like the treble contro, the bass should be run near its Tull clockwise position for maximum volume from the amp. ‘The presence controls ) allows precise variation of the extreme lop end (treble) and tends to bring out the upper harmonics generated by any instrument ‘The middle control 6 ) is of the cut type and allows the musician to tallor the critical midrange frequencies 10 ‘suit each individuals taste, This is pethaps the most dificult control to design, but its importance in tonal settings made this extra etffort necessary. Experimentation will lustrate the versalty of this control ‘The Middle shift controll 7 ) enables the musician to select the particular frequency range that he wants to cout in the midrange spectrum. By experimenting with diferent combinations of settings between the middle control and the middle shift control, you will discover a variety of sounds never before available on any other brand of ampifier. “The reverb control g ) dotarmines the amount cf delayed signal (reverb) blended into the output. The reverb circuit of the Session features a full complimentary amplifier and is able to produce tremendous sustain and clarity by properly damping the diver coils of the reverb unit. The reverb effect is controllable from the remote footswitch. ‘The depth control( 9 ) is used to vary the amount of amplitude modulation (tremolo) of the output signal. The operation of this control is conventional and should present no problem in adjusting for the desired effect. ‘The rate control 10) determines the speed with which the signal is modulated. This control varies the speed of the tremolo master oscillator and should provide any speed desired for modern music. The tremolo feature is con- trollable from the remote footswitch, ‘The master sensitivity control(11) is a unique innovation which allows the player to “cut or “boost” sen- sivity as he desires. This allows the musician to cut out noise for a perfeclly quiet perlormance during recording sessions, The booster jack( 12) provides an output signal for driving addtional booster power amplifiers. This is NOT A SPEAKER OUTPUT. This output isa low level signal of approximately one volt. Any booster ampiffier can be used as long as is input wili accept a one volt RMS signal and has input impedance of at least 10,000 ohms. The fuse( 13) Is located within the cap of the fuse holder and should be replaced with one of the proper value if it should ‘ell. Its necessary that the proper value fuse be used to avoid damage to the equipment and to avoid voiding the warranty. if your ampitier repeatecly blows fuses, the unit should be taken to a qualified service center for, repair. Prntod in USA,The line power switch(1s) is of the three position type with the center position being off. The three postion switch has two ON positions, one of which is used fo ground the amplifier properly. One of the ON positions will yl the least hum or popping when the instrument is touched and this is the gosilion that shouls be uses. For your safety, we have incorporated a three wire line (mains) cable(17 ) with a grounding lug. It is not ad- visable to remove the ground pin under any circumstances, If it's necessary 10 use the amp with the old, two prong sockets, @ suitable adaptor should be used. Much less noise and greatly recuced shock hazard exists when the amp Is operates with the proper grounded receptacle. ‘G5)The main speaker output jack #1 must be plugged into before the external speaker jack #2 becomes func- tional. The output impedance of these ampiiers is 4 ohms TOTAL. Other load impedances can be used with a secrilice in performance. itis not recorymended that jess then a 2 chm load be used on these amps to avoid undue loading of the power ame The footswitch jack(16) is cf the "stereo" type and is used to plugin the footswitch for remote control of the reverb and tremolo elects. Any foo'switch with the slandard stereo phone plug and a shielded cable can be used, (Aner do bb PRE-AMP: INPUT CHARACTERISTICS (Tone contels tat, Vol_@) 1200, Sensity Max ‘Serstiviy 50 mV @ TRHZIapat impedance. 380. Ohne Nose: 73 DB Open Gxt, 77 0B 50 K Ohme, 80.08 Shor Cx.” DISTORTION gt HAZ: Last han 0.1% THD @ Reed Oupu FREQUENCY RESPONSE: 9.08 Down @ 20 Hz & 90 KHZ PRESENCE CONTROL: 15 DE Boost @ 8 KHZ TONE CONTAOLS: & 20.08 @ 50 HZ. 2 KHZ MIODLE CONTROL: 15.08 eut MIODLE SHIFT CONTROL: Variable Migele Notch Frequency Shitor REVERB CONTROL: Coninuousty varabie wih footswitch cut of ‘TREMOLO CONTROLS: Varale depth & rate w/octawich cul cit EENSITIITY CONTROL: "Reduces over-all Gain and noi by 20.08. for stueo usoge BOOSTER OUTPUT LEVEL! 1.0, BMS mo 10 K Ons REVERB ORIVE AMPLIFIER: 10 W Capa fr cistron free rever> "Signabto-noge rai iy DB below rate output "Moasured wih overs & temo cutetl (Full COM) POWER AMP: OUTPUT POWER @ 1 KHZ @) 129 VAC Line sted Power 200 W AMS ine Fated iad: 4 Ohms Power vs. Disionion: 120,W AMS @ 1% THD ino 8 Ohms 210 W RNS @ 136 THD into 4 Ohms '20.W AMS @ 154 THD Ine 2 Ohms PEAK OUTPUT @ RATED LOAD: 10 Amps & 40 ¥, 400 Watts Music POWER OUTPUT @ RATED LOAD: 290 WFNS @ #2 THD FREQUENCY RESPONSE: 2 DE Down @ 40 HZ. 15 KHZ SENSITIVITY @ RATED POWER & LOAD: 600 rv INPUT IMPEDANCE: 10 K Ohms NOTE: The "LTD" isa compact version of the “SESSION” All functions and circuits are identical.