Peavey Session 400 manual schematic

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SESSION 400/ LTD

QWNEP'S MANUAL

WARNING: To prevent electrical shock orfire hazard, do
not expose this appliance to rain or moisture.

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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 steel 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 energy 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 shift, 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-
justed properly to achieve the desired sound. Please read the explanation of each control and become familiar with
the effect and capability of each function.

The Input look 1 ) are arranged in a unique circuit that allows a wide range of input levels to be handled 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 the signal from your instrument tends to overload (distort) the preamp. If
two instruments are used and both jacks "1" and "2" are used. the circuit automatically balances the gain of the two
Inputs so that the sensitivity of both are identical.

The volume controli 2 ) sets the gain of the input preamp. thereby controlling the mltlvfly of the preamp.
not the power of the amp. It is entirely possible lor the amp to be driven to full power output at very low gain settings if
the signal from your instrument is extremely high. Please remember that the volume control does NOT indicate power
output. but the GAIN of the preamp.

The treble centre" a ) 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. it 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 base oonirol( a ) is also part of an electronic crossover that forms the tone 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 control,
the bass should be run near its lull clockwise position for maximum volume from the amp.

The presence control( 5 ) allows precise variation of the extreme top 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 tailor the critical midrange frequencies to
suit each individual's taste. This is perhaps the most difficult control to design. but its imponance in tonal settings
made this extra efttort necessary. Experimentation will illustrate the versatility of this control.

The Middle ohifi control( 7 ) enables the musician to select the particular frequency range that he wants to
cut in the midrange spectrum.

By experimenting with different 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 amplifier.

The reverb control( a ) determines the amount of 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 driver coils oi the reverb unit. The reverb etfect 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 adiusling for the desired effect.

The rail control(1o) 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 lootswitch.

The matter sensitivity oorlirolh 1) is a unique innovation which allows the player to cut" or "boost" sen-
sitivity as he desires. This allows the musician to cut out noise for a perfectly quiet performance during recording
sesstons.

The boooior ilolr(12) provides an output signal for driving additional booster power amplifiers. This is NOT A
SPEAKER OUTPUT. This output is a low level signal of approximately one volt. Any booster amplifier can be used as
long as its input will accept a one volt RMS signal and has input impedance ol at least 10.000 ohms.

The Mocha) is located within the cap of the fuse holder and should be replaced with one of the proper value
if it should fall. it is necessary that the proper value iuse be used to avoid damage to the equipment and to avoid
voiding the warranty. If your amplifier repeatedly blows fuses. the unit should be taken to a qualified service center for
repair.

Printed in U S A
80344000