BEFORE USING The Basic™ 50 is the smallest, lightest and least expensive model of the complete line of Peavey bass amplification systems. But don’t let the small size and budget price fool you; the Basic 50 is indeed a professional system in quality and performance, and it shares many important features with larger, more powerful Peavey models. The Basic 50 will produce over 50 watts RMS into an 8 ohm load. It is equipped with an extremely heavy-duty 12" loudspeaker. The chassis and speaker are housed in a ruggedly constructed enclosure made of %" materials and covered with 34 ounce fabric-reinforced Tolex®. Plated steel corners, glides, chassis straps and a heavy-duty steel reinforced carrying handle improve durability and insure continued good looks. The Basic 50 is very portable and will please both the student bass player and the professional for rehearsal, studio or small concert applications. Our DDT™ compression circuit (U.S. Pat. #4,318,053) maximizes the Basic 50’s performance so the amp does not run out of power (headroom) as easily as other manufacturers’ systems. The DDT compression circuit eliminates most amplifier clipping, and keeps potentially hazardous clipping distortion from reaching the speaker. We have also included four bands of equalization, a preamp out/power amp in effects loop, pre and post gain controls, and our very popular “Pull Bright” control. All of these features add up to an unbeatable bass system within this price and power range. Compare our quality, features and performance with other similarly priced bass amplifiers. You’ll find the Peavey Basic 50 is your best buy. INPUTS ф Щ HIGH LOW GAIN GAIN ,- GAIN -1 0 0 □ Ю a io PULL aniGHT POST PREAMP OUT POWER AMP IN I- EQUALIZATION -, о о о о а 1о о id о-ю о ю LOW MID HIGH PRESENCE СОМР.Л PWR.fV 4J Vf basic so 1 MADE WF ON □ FF I_I _L I I I I ! I I I I А В С D E F G H IJKL (A) HIGH GAIN AND LOW GAIN INPUTS The high gain input is the most sensitive and should be used first under normal conditions unless an extremely “hot" (high level) signal is patched into the Basic 50. If the high gain input should distort the signal, then you should consider using the low gain input. The low gain input is 6 dB less sensitive and will allow the preamp to take much more signal at the input without premature distortion. If overload is audible then you should determine if the preamp is overloading or if the system is running out of power (headroom) with the internal power amplifier. Our DDT compression circuit will virtually eliminate any power amp distortion so it is fairly simple to determine if the preamp is being overloaded. Most instruments will patch, as mentioned above, into the high gain jack but occasionally a stronger signal, such as an instrument with a preamp built in, etc. should be plugged into the low gain input. (B) PULL BRIGHT The Pull Bright feature is activated with the pre gain control knob and is simply a pull/push type switch which gives a “brightness boost" at very high frequencies. This control may be used to emphasize pick noise or finger noise as the bass or other instrument is played. To activate this control, simply pull out the pre gain control, and to deactivate this feature simply push the control back. (C) PRE GAIN CONTROL The pre gain control is labeled from 0 to 10 and works conventionally. This is the first control that your signal reaches after being patched through the input jack. This control must be used in conjunction with the post gain control for optimum performance. (D) POST GAIN CONTROL The Post Gain Control is a master volume control. This feature determines the overall signal level of the preamp, which is fed to the internal power amplifier. For concert (loud) applications, the post gain should be adjusted to a fairly high setting, so that the system will operate at maximum levels and remain as clean as possible. For studio and other low level applications, the post gain may be backed down to a 4 or 5 setting to optimize residual preamp noise for demanding studio applications. For normal situations, the post gain should beset somewhere around 7 to 10 so that headroom is not drastically reduced and then the instrument gain should be set with the pre gain control. Be careful not to adjust the post gain to a lower setting than the pre gain setting when clean operation is desired. Many times overload harmonics are desired for certain applications and those may be obtai ned with a very low setting of the post gain and a fairly high setting of the pre gain control. (E) PREAMP OUT/POWER AMP INPUT The preamp out/power amp in jack is located on the front panel and is a stereo or two-position type jack. In order to interface an effects device or any additional equalizer, etc. into the Basic 50 system a stereo '//'phone plug must be used. The preamp output is on the tip of a typical stereo plug and the power amp in is on the ring or the second position of the plug (see Diagram A...
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