Peavey Austin 400 Owners Manual

Page 1

WARNING
TO PREVENT ELECTRICAL SHOCK 0R FIRE HAZARD. DO NOT EXPOSE THIS APPLIANCE TO RAIN 0R MOISTURE
BEFORE USING THIS APPLIANCE, READ BACK COVER FOR FURTHER WARNINGS

USTINT
400

QPEPATlNG GUlDE

You have purchased an amplifier which was designed to fill a specific need in the marketplace
Before the Austin 400 were no amplifier products that we know of available to the musician who
doubles on electric and acoustic guitar. There were two channel amps available but the electric
acoustic tonalities always seemed to leave quite a bit to be desired The Austin" provides a fairly
conventional lead channel and a channel specifically designed to amplify acoustic guitars. The
speaker complement is arranged with (2) 12 Scorpions" and our new CDP' (high frequency) horn.

The power section features 210 watts RMS at 4 ohms and includes our patented DDT'
Compression circuitry; enabling the Austin to be louder and cleanerthan most other amplifiers in
its power range

Please read this manual carefully, experiment with the functions and hopefully you will
experience a new dimension in the reproduction of acoustic and electric guitar.

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ACOUSTIC CHANNEL

INPUTS
The acoustic channel of the Austin" 400 has two inputs. one featuring high gain and the other one-third as

much gain. The high gain input jack is actually 10 :18 more sensitive than most inputs found on guitar
amplifiers. This input is designed foran instrument with a typical piezo (ceramic) transducer type pickup. Piezo
type add-on pickups require this extra 10 dB of gain so the signal-to-noisa remains acceptable throughout the
audio chain. The low gain input is standard as far as input sensitivity for guitar amplifiers go and should be used
with those instruments having built-in preamps (batteries) as this signal is qultea bit stronger than the average
piezo pickup. The gain of both the inputs are the same and is slightly lower than the low gain jack when
instruments are plugged into both jacks. Note: Piezo transducer type instruments should be plugged into the
high gain input and instruments containing preamplifiers built-in should be plugged into the low gain input.
Two instruments containing preamps can be plugged into both inputs simultaneously.

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PRE GAIN/PULL BRIGHT CONTROL

The pre gain control is similar to the conventional volume control in that it is the first level setting device in
the system. Operation of this control is conventional and even though the associated circuitry isquiie different
from the older totally passive units there should be no problem with the operation. This control should be
adjusted to the desired gain necessary iorthe instrument but it isalso working in conjunction with the post gain
control. Once the post gain control is adjusted properly. then the gain desired for each individual instrument
patched into the Austin" 400 should be set with the pre gain control.

The pre gain control also features an integral "pull switch" which adds asignificant boost (6 dB) to the high
frequencies when it is activated. This high frequency boost gives a nice "edge to clean playing styles and has
been tailored specifically for acoustic guitar. The boost is activated by pulling out on the pre gain control and
defeated by simply pushing the knob inward.

POST GAIN CONTROL

The post gain control sets the overall level from the preamp which leads the 210 watt power section of the
Austin" 400. The action of this control is very similar to that of a master volume control and can be used to
control the dynamics of the preamp section by decreasing the sensitivity of the power amp. Normal settings of
this control will be from 12 oclock to full clockwise. Rotating the control clockwise increases the sensitivity of

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the power amp and the overall volume level of the system. Some studio applications. because of low noise
requirements. may need a fairly low setting of the post gain control but please be careful to keep the post gain
control adjusted to at least the same number setting of the pre gain control to avoid preamp overload which
may cause distortion. An average setting for the post gain control under normal conditions during concert

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situations will be from the number 5 to 7 positions and could be slightly lowerfor studio applications. Once this
control is adjusted properly for the amount of sensitivity you desire for the overall system. the gain of the
individual instrument may be accomplished with the pre gain control.

EQUALIZATION

LOW EO CONTROL

The low E0 control is of the active shelving type" and provides low frequency boost in the clockwise
positions and low frequency cut in the counterclockwise positions. Flat response is obtained in the vertical 112
o'clock) position as indicated by the zero in the center of the rotation. The action of this control is more or less
conventional and no operational problemsshould be encountered. You should. however. avoid excessive low
and boost since this greatly affects your amps power reserve (headroom). Extreme low frequency boost also
adds greatly to feedback problems encountered with acoustic instruments. The low E0 control is capable of

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more than 15 dB of boost or cut and you should be aware that each 3 dB doubles the amount of power
necessary to produce the desired amount of low end. Even the 210 watt FfMS capability of the Austin" 400 may
be overloaded by excessive low end boost at high volume levels and the tonality may become "confused" and
more "muddy" than desired.

MID E0 CONTROL

This control enables a boost or cut of 15 dB in the vital mid-range frequencies and exhibits a peak/notch
type response. Added versatility is possibly because of the ability to vary the operating centerpoint throughout
the mid-range from 150 Hz to 1.500 Hz by use of the frequency shift control. The mid E0 control works in a
similar manner to the low and high E0 controls and should present no operational difficulties. Clockwise
settings increase "fat mid-range frequencies and counterclockwise settings will result in a "thinner" sound
with less mids apparent. Notice the zero position at 12 o'clock will indicate no change is taking place to the mid-
range frequencies. A setting of zero will render the shift control ineffective because the mid-range is at that
point totally "flat". Most acoustic guitar applications will require settings of the mid-range control from minus 3
to minus 6 usually and these settings. of course. will vary from player to player because of technique and
outboard equipment used. Patch cords. volume pedals. effects devices. guitar pickups. etc. all tend to have
some effect on the overall tonalityand for that reason we are not able to give a "cookbook" set of equalization
settings lor any particular instrument. Experience has proven that mid-range cut is generally more pleasing to

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the player for most string instrument applications and a slightamount of mid-range cut is usually necessary for
acoustic/electric applications due to acoustic feedback problems especially at high levels.

SHIFT CONTROL
The shift control has the ability to move the center frequency whereihe mid-range has its effect. The sweep

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capability of the shift control can position the middle control at any point along the frequency spectrum
between 150 Hz and 1.500 Hz. This is a very wide range of frequencies considering the lundamentai frequencies
of acoustic guitar. The shift control. with this broad capability. becomes one of the most functional systems
with the Austin" 400. Please be aware that the shift control works in conjunction with the mid-range control and
any conditioning performed by the mid-range control isaltered by the shift control. For instance. a setting on
the minus (cuti position with the mid control will create a dipora notch in the mid-range response and the shift
can relocate this notch" anywhere between 150 Hz and 1,500 Hz. When this notch is preselected with the mid-
range control you will notice that counterclockwise settings near 150 Hz with the shift will yield "thinner"
sounding mids while clockwise setting will yield fatter" sounding mids. Note also thatiust the opposite allect is
possible when you select a boostwith middle control and rotate the shift from 150 Hzto 1.500 Hz. Most acoustic
guitar players will adjust the shift control in the area between 300 Hz and BOO Hz depending on the player. once
again. and the equipment used.