Peavey TKO 65 manual

Page 1

I /[ WARNING
® To pnevam ELECTRICAL snocx on FIRE

HAZARD. DO NOT EXPOSE THIS APPLIANCE
TO RAIN OR MOISTURE, BEFORE USINGTHIS
TM 65

APPLIANCE. READ BACK COVER FOR
FURTHER WARNINGS.

INTRODUCTION AND GENERAL DESCRIPTION

Congratulations on your purchase oi the TKO" 65 bass amplification system Alter reading this owner's manual
you should have an understanding of the operating principles of the TKO" 65 A thorough understanding of these
instructions will also help you to achieve many varied tonal settings.

The TKO 65 is an advanced, medium powered single unit bass amp designed primarily for studio and club
applications and is equally etlective as a medium powered keyboard amplification system The TKO" 65 utilizes
flexible input circuitry and gain (volume) controls as well as a unique system of active/passwe equalization Both the
bas5ist and keyboardist will benefit from the unique and highly versatile Circuitry employed in the TKO" 65.

As With any sophisticated piece of equipment. there are some operating prinmples concerning the inputs. gain
controls, equalization and patching faculties which must be understood to obtain the best tonal results. Please read
this owners manual and keep it handy Ior reference

Page 2

THE FRONT PANEL

ONIOFF SWITCH: The on/ott switch is a rocker~type swnch and should present no problems in operation. In
the on position. a red LED will illuminate showing that power Is being supplied to the unit. NOTE: WHEN THE
UNIT IS TURNED ON. THE COMPRESSION LED INDICATOR (DDT) WILL MOMENTARILY ILLUMINATE

GROUND SWITCH: The ground switch is sit-position rocker-type swnch which. in most applications, should

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be operated in its center or "zero" position You may encounter some situations where an audible hum andror
noise will come trom the loudspeaker II this situation arises. position the ground switch to either positive or
negative until the noise is minimized.NOTE: SHOULD THE NOISE PROBLEM CONTINUE. CONSULT YOUFI
AUTHORIZED PEAVEY DEALER. PEAVEV FACTORY OR QUALIFIED SERVICE TECHNICIAN. DO NOT
UNDER ANV CIRCUMSTANCES. REMOVE THE GROUND FIN ON THE MAIN (POWER) CABLE

DDT" COMPRESSION LED: The TKO" 65 utilizes our patented DDT" (Distortion Detection Technique)
compression circuit to etlectively minimize the possmility ol distortion (square waves) trom entering the
loudspeaker. (US. Patent #4318053).

As mentioned in the on/ott switch section, the DDT" LED wtll sometimes illuminate when the unit istlrst
turned on and this should be considered normal. The DDT" LED will also occasionally illuminate to indicate
that the DDT" Circuit is automatically engaging to prevent distortion. NOTE: IF THE DDT" LED REMAINS
CONTINUOUSLY LIT WHILE YOU ARE PLAYING. THIS IS AN INDICATION THAT THE GAIN (VOLUME)
CONTROLS AND/OR EQUALIZATION CONTROLS ARE SET AT POSITIONS THAT IS MAKING THE
POWER AMP OVEHWORK ALTHOUGH THE DDT". IN MOST CASES, WILL PREVENT SPEAKER DAMAGE
AND/OR FAILURE WE WOULD RECOMMEND THAT THE GAIN AND EQUALIZATION CONTROLS BE
READJUSTED UNTIL THE DDT LED WILL ILLUMINATE PERIODICALLY.

/- PATCH SECTION: The patch section consists at two jacks labeled preamp out and power amp in. Primarily the

preamp output and power amp input tacks are used tor patching ettects devices and signal processing
equipment "in«line" With the TKO" 65 Most ol devices such as hangers, chorus. tape/analog/digital delays or
gain devices such as external compressors can be used within this etlects loop The preamp output level is
approximately 1 volt RMS and is oi relatively low impedance- 1000 ohms To utilize the ettecls loop. usea high
quality. shielded patch cord and plug one end into the preampoutpul and the other end into the external device
input. To return the processed signal to the TKO" 65. use a second high quality. shielded patch cord and plug
one end into the external unit output and the other end at the patch cord into the power amp input.

Since this method of using an ettect places the device alter the preamp/ equalization and betore the power
amp you will have a greater degreeol control over the sound quality otthe device or signal processing unit The
preamp output can also be used to send the signal at the instrument/ preamp to mixing and recording consoles
For this method use a high quality. shielded patch cord and make the connection lrom theTKO" 65s preamp
output to the desired channel of the mixer or to an auxtliary device where the signal is not to be returned lothe
power amp input at the TKO" 65. With this method at sending your instrument's signal to a mixer or auititiary
device. you do not have to utilize the power amp input as the signal will automatically teed the power amp
section, (For Iurther uses ol the preamp output/power amp input see bi-amping the TKO')

EQUALIZATION SECTION

The equalization controls (presence, high, mid. shill and low) are a unique combination oi active and
pass-ire circurts to enable you to achieve a multitude ot tonal colors. By design. with the exception ol the
presence control. the tonal capabilities at the low. mid and high controlswltl slightly interact With each other

PRESENCE CONTROL: The presence control should be used to adiust the extreme high and (treble) ol the
bass guitar orkeyboard signal. This is an active control and. as such. wtll cause no ellecl on the other controls
when placed at its 12 oclock or zero position For less high end response. rotate the presence control
counterclockwtse (zero to -12 (13) until achieving the desired high end roll all. To boost the high end response
at the preamp. rotate the control clockwise (zero to 12 dB) The boost portions at this control are extremely
etlective for enhancing neck slapping/string popping techniques (see tone setting charts for turther
examples).

HIGH CONTROL: The high control is conventional and should present no problem in operation. Clockwise
rotation Will increasethe systems treble response while counterclockwise rotation will reduce the high end. In
conjunction with the presence control. the high control will turthar enhance many contemporary bass playing
techniques (see the tone setting charts tor lurther examples)

MID AND SHIFT CONTROLS: The mid and shitt controls willenable you to have completecontrol over the vital
mid-band Irequencies. The mid control is a equalization circuit allowing superb tailoring of the mid-band and
the shift control allows the bassist and keyboardist to determine at what Irequency the mid control will operate
To get you acquainted With these two very Ilexible controls. do the lollowing experiment:
I Plug the instrument Into the high or low gain iack.
2 Adiust the pre gain control to li2 or its. making sure that the pull bright switch is all
3. Adiust the post gain control above its 12 oclock or its posnion making sure that the pull punch switch is
in its oil position (not pulled out)
4. Place the mid control somewhere between 2 and 5.
5 Play your open first (G) string (or strike a note in the middle oi the keyboard range) and allow it to
sustain
6 As the note sustains, manually sweep the shll! control lrorn its 150 position to its 1.5K position
As the shift control is swept notice the dramatic changes occurring in the tonality of the mid-band.
Through experimentation, you WIII beable to determine what settings are appropriate tor your musical styles. A
good rule ol thumb tor the operation ol the mid and shilt controls lS' For a well defined. tight sound
[country/)azz) more mid cut and lower operation of the shill control is desireable whereas. tor rock, more mid
boost and higher operation at the shill control is needed

LOW CONTROL: The low control is a conventional E0 circuit deSIgned to provide smooth. gradual increases in
bass response over its entire range. Although the low control should present noproblem in operation. it should
be noted that "overboosting" oi the low control may ca use the TKO" 65s DDT" compression LED to activate
prematurely - even at low volume levels. Usually, this occurrence can be corrected by cutting (reducing) the
low control until the DOT" LED activates periodically.