Peavey Tube Fex User Manual

Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure

CAUTION: Risk of electrical shock - DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer servicing to

qualified service personnel. WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before using this

appliance, read the operating guide for further warnings.

that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the

literature accompanying the product.

Contents

Quick Start Introduction

Features ...........................................................................................................................................

About this Manual ..........................................................................................................................

Chapter I

The Front Panel ..............................................................................................................................

The Back Panel Connection The First Time You Turn It On (Reinitialization)

Adjusting The Global Input And Output Levels, and Global EQ

Chapter 2

Getting Started

Preview the Sounds from the Front Panel

Definitions and Abbreviations .....................................................................................................

Definitions

AbbreviationsL.............................................................................................................................

Chromatic Tuner ..........................................................................................................................

Chapter 3

Play Mode .....................................................................................................................................

Setting Up Your Programs

Performance Parameter Control .........................................................................................

Volume Control During Performance ..............................................................................

Chapter 4

Transmit and Receive Channels ..................................................................................................

MIDI Program Change and Bank Switching MIDI Continuous Controllers MIDI Volume Control

MIDI System Exclusive Remote Storage ...........................................................................

Loading Sets or Presets to their original locations

........................................................................................................................

Setup

Diagrams

Overview

......................................................... ......................................................................

Editing Programs

Using MIDI

.............................................................................................................

..................................................................................................................

.......................................................................

...........................................

...................................................................................................

..............................................................................................................................

.......................................................................

..................................................................................

..................................................................................................

...............................................................................................

..............................................................................

............................................................................................

..................................................................................................................

.....................................................................

..........

........

.........

...........

..........

4 6

16 16

17 17

20 20

21 21

22 22

23 23

Table of Contents

Loading Sets or Presets to new locations ...................................................................................

Remote Editing using MIDI System Exclusive ............................................................................

How to

Chapter 5

Initializing New Cartridges Saving Loading Presets from the Cartridge Hattely

Tutorials

Editing and StoringaPreset .....................................................................................................

Program Mapping Global Stuff:

SetupaContinuous Controller

RAM Cartridge

Presets on the

..........................................................................................................................

..........................................................................................................

C:trtridge

Cartridge

........................................................................................

..................................................................................................

......................................................................................................................

Utility,

MIDI

and Controller Screens .................................................................. .32

Appendix A Individual Effects Appendix

MIDI Implementation Appendix C System Exclusive Format Appendix D Remote Editing with SysEx

Specifications ..............................................................................................................................

......................................................................................

.............................................................................................

................................................................................

.........................................................................

..................................................................

..............................................................

25 25

27 27 27 27

A-I

B-l

C-l

D-l

1 )-c)

Table of Contents

Quick Start

In an effort to make using our products easier to use, we have included this Quick Start section for all of you who just hate to read manuals (and those of you that don’t need to read manuals). We hope this makes using your new Peavey equipment a more enjoyable experience. As always, we appreciate any comments you have on how to improve our products. (Hey, we’ll even listen to comments about the manual!)

To get started quickly

Well, the first thing you need to do (after opening the box and removing the Tube Fex), is to connect

the Tube Fex to your system configuration. Here are some things to check first:

Make sure your amplification system is turned off.

Plug your guitar into the the one that is most convenient).

For mono operation, connect the Left/Mono audio output of the Tube Fex into the audio input of your guitar amplifier or mono power amp. For stereo operation, connect the Left/Mono and Right audio outputs of the Tube Fex into the left and right audio inputs of your power amp or into two individual guitar amplifiers.

Plug the Tube Fex into an electrical outlet and turn on.

Turn on your amplification system.

See the diagram below.

SignalInput

jack (there’s one on the front and rear of the Tube Fex, so pick

Classic, Series

50150

1 1

Classic’

41 OE

Occasiordy,

the

:tmplifier, lxrt

plugging directly into ;I guitar

it will cause unwanted distortion of the signal. To cc

the Global button until the following

:mplifier

display

may

appears:

overlod

the input slightly. This won’t

m-ect

this overload cc

mdition, ptws

clmxgc

Move the cursor under

Out.

This

~dlows

you to change the output level

ofthe Tulx Fcx.

until you find a level where the unwanted distortion disappears (this usually

le\d is around 7). If

the A button. See the section titled on page 16 for

(Optiond) To send and receive

./J

Press the

Global

The first parxneter, RC, sets the

you

x-e using 21 power

mip,

Adjusting the Global Input and Output Levels and Global EQ,

more inforniation.

MIDI

information it is

button several times (the display

MIDI

Receive channel. IJse the V and A

you

may

want to increase the

necesmy

shodd

to properly set up the

show

[MIDI]

the desired channel.

4. Okay. Now it’s time to

Start playing your

clockwise until you reach the desired

numl->er.

That’s it, you’re

To select a different patch, use the 7 and A buttons.

done. (That wxm’t

pl;ly.

g:uitar: as

you

play,

turn the Tube Fex’s

level.

The Tube

1~~1,

was it?)

Post Gain/Global Output Level

Vex’s display

h;ippt’ns when

outp~rt led by prc’ssing

in the upper

buttons

will show

Press the v lxltton

the

(mtput

Tc11x

Fex.

rigllt

hmcl corner>.

dunge

this to

knoll

tlje

current

p:ltcyh

Introduction

(obligatory

Congratulations and thank you for purchasing the Peavey Tube dual

12AIY7

The Tube Fex is two different signal processors in one unit. First, it is a dual-tube guitar preamp that delivers fat tone, crisp, clean settings, and thick distortions with a fully programmable, highly user-friendly interface. In fact, it is probably the most user-friendly MIDI-programmable tube preamp in the industry today. The gain and tone knobs are actually data encoders. Each is surrounded by eleven, easy-to-see knob’s setting. As each new program is called up, different settings for the new program. You can change gain and tone settings by turning individual data encoders knobs, and when you find the setting you like, simply press the store button and the changes will be saved to the program.

The Tube Fex has 37 effects types available, including eight reverbs, three delays, chorus, flange, exciter, coil tap, auto pan, noise gate, stereo splitter, dual pitch shifters, tube and digital distortions, hum filter, envelope filter, stereo tremolo, compression, selectable front panel tone controls, four internal EQs, speaker simulator, and fx loop. Effects algorithms are completely user-definable and true-stereo effects chains can be written. The tube preamp can be placed anywhere in the effects chain. Even the digital distortion can be used simultaneously with the tube distortion to create unique stereo effects. The Tube Fex features mono inputs and mono/stereo outputs.

Opening9

tube guitar preamp with

Fex’“‘.

The Tube Fex is a MIDI programmable

24-bit

digital stereo effects processing in a one-rack-space unit.

LEDs

around each knob light up, indicating the

that indicate each

FEATURES

Up to seven simultaneous effects MIDI-programmable dual MIDI-programmable digital stereo effects processor with over 30 effect types User-definable effects algorithms Selectable front panel tone controls, 3 internal graphic Stereo effects chains are fully independent Dual pitch shifters

Progralnmdble

128 user programs, 128 factory presets

RA.M

card slot for storing or adding

Preamp

11 easy-to-see Programmable Programmable global room EQ and pre and post gain levels On-board chromatic tuner with programmable mute

Mono inputs (front and rear panel), mono/stereo outputs, stereo balanced direct outputs

Internal power supply Single rack space Programmable FX loop with stereo sends and returns

Assignable clip LED Programmable speaker simulator

and more

12Ax7

master output level on each effect

gain and tone knobs are data encoders that allow changes in knob settings to be stored

LEDs

around each knob indicate control position

4-position

tube mode adds tube gain stages and utilizes passive and active EQs

tube preamp

EQs,

128

additional programs and presets

or a 4-band parametric EQ

Intro

ABOUT

THIS MANUAL

Still reading? We consider that very high praise indeed! they’d rather try and figure things out themselves, and that would be unfortunate because in this manual we try to provide you with the information necessary to make the most use of your new equipment. Not just technical stuff, but real everyday type

Have Fun.

This manual is separated into several distinct chapters.

Chapter 1, Setup, will show you how to setup the Tube Fex in several common application scenarios.

Chapter 2, Overview, provides an overview of the Tube Fex ranging from a list of the abbreviations to the user interface. This chapter is a must, don’t miss it.

Chapter 3, Editing Programs, provides an overview of the effect structure, how to create a chain, editing individual effects parameters, storing your program, and more. too technical. You should probably check this out.

Chapter 4, Using MIDI, shows you how to setup the Tube Fex to allow for sending and data, how to load programs into new (and their original) locations, storing program via should definitely read this chapter, if for no other reason channels, and how to load programs.

infornTation

LJsually

that will make using the Tube

people don’t want to bother reading manuals,

LJseful

tlyan

to find out how to set the

F:ex

much more fulfilling.

custom

information that’s not

receiving

MIDI,

and more. You

MI111

send

and rcccive

effects

MIDI

Chapter 5, RAM Useful only if you intend to store programs to cartridge.

Appendix A, than is provided in Chapter 3. This chapter lists This section provides lots of information that the typical user probably doesn’t need.

Appendix B, MIDI Implementation,

Appendix C, System Exclusive Format. At-e you

command

Appendix D, Remote Editing with the Tube Fex. Again, this is vely technical so advanced users will

Cartridge,

IndividualEffects,

format for the Tube Fex. This is very technical, advanced users will

deals with saving your programs in memoty and storing them to ;I RAM cartridge

is ;I reference section for those who want more information about the effects

each

effect, its parameters

is a chart that summarizes the MIDI support provided by the

sure you want to go

SysEx,

shows you how to use system exclusive messages to program

, and the range for each parameter.

’ ‘l’his

hcrc!

probabl)

gain the most

details the

gain tlic most

systcrii

from

from this.

TLI\X Fex.

exclusive

this.

Intro

Chapter 1 Setup

TU6EFEX’”

LlhllTS FOR A CL ASS R COMPUTlNCl

C3 0 GLOE AL

120 VAC

60 Hz

60 WATTS

THIS UNIT

COMPLIES

DEVICE PURbUANTTO

OF PART 15 OF FCC

TUBE GUI-I-AR

QQQ

0 0

PRE

l;AIN

INPUT

DUAL 12AX7 MIDI TUBE PREAMP

WITH

THE

SUBPART

HU, ES

--BP.531 --

LEV

TU6E

WARNING:

SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE

AVIS:

RISQUE DE CHOC ELECTRIOUE-NE PAS OUVRIR

THE FRONT PANEL

1. Signal Input

The Tube Fex instrument is plugged into lxd~ the front and rear jacks, the one override the one

2. Preamp Pre Gain/Global Input Level Knob

3. Preamp Bass/Global Bass Knob

4. Preamp Mid/Global Mid Knob

Preamp Treble/Global Treble

Post Gain/Global Output Level Knob

Knobs

2-6

these knolx,

Treble, and Post Gain, respcxtivdy, of the

chain, these knobs

means that all presets

PreGain/Global

When in

pand. Right by the Pre Gain knob

by Global Input Level.

can instantly determine whether you

is lit, you are adjusting the you x-e

Assignable Active Clip LED

This is ;I

l%color

during norinal

anywhere u+thin

conxs with

plu

two Signal Input

aged into the

rear

input jack.

Knob

are dual

purpose

knobs. When 21

when changed x-qwher~ other than the

adjust

the

Input level, Bass, Mid, Treble,

are

affected by these settings.

Input Level

doul,t about whether

LEDs

you

arc

adjusting the Tube or the

you

will sw

(Notice that only one is lit at any

x-e changing

adjusting

LED

activity and

the

Tube’s pre and

Globd

usd

input, output md

to indicate normal activity and

will glow rwln-lien

post

the effects chain to help

jacks. Hoth are used for

prext

contains

[GLOBI

tulx.

When The

two LEDs,

the

gain

and

EQ.

clipping

rim

down

PREAMP 8. EFFECTS

TREBLE

Q0 ,P

GLOBAL OLJTPUT LEV

0 0

WARNING

MD--

’

FE><‘”

TO REDUCE THE RISK OF FIRE OR ELECTRIC

instrument level

plugged

that Tulx

page,

adjust

Tulx

(TB)

and

Output level on ;I

GloM

one located by Pre Gain given time. >

T&e

Glolx11

EQ.

the

when

clipping

occ’~irs.

The clip

oc~rloacl conditi~ ms.

into

(TB)

effect in an

the

Pre Gain, Bass, Mid,

effect is

settings,

13~

glancing 2t

settings. If

LET) I>y

Global Input Level

occ~~rs.

LEI> can Ix zi,signccl mcl plxwl

PROC

QOQ~

0% oli

o~%.&,P

0 0

POST GAIN

OUT/

THRU

SSOR

‘W

MIDI

sigrxlls.

the

front input

HO/

prcscmt

https://manualmachine.com/d~rzlsc;llc.

just 1~ )ok at the

zncl

thcs~

the 1,111) by Pre

The

I,[<1 > \/2rill

CLIP

PEAVEY

MERIDIAN, MS MA

If an

jack

will

ef‘fccts ~~lmin,

in an cffwt

This

front

one

Iowed

IAl<1 1s

you

Gain

is lit,

glow

g/-c~jt~

A PRODUCT

ELECTROh

Chapter

Setup

A I

PLAY

12 13 14 15 16

EDIT

CORP.

J U.S.A

EFFECTS- _________ EFFECTS-

RETURN SEND

MONO MONO

Display window

20 character x 2 line Liquid

_________ DIRECT

OUTPUTS OUTPUTS INPUT

RIGHT LEFT

Crystal

_________

Display

______

UNBALANCED- ~ SIGNAL

MONO

(LCD)

with

varialk

view angle

10. Arrow (Direction) Buttons

LJse

navi@e through

the menus on the display: Left, Right, IJp, or

decrement selected values.

11. Tube Mode Button &

This

pmsive

tube. When

Body, Edge,

12.

Play Button

This

hutton

increases the

and

IJltra

button

you

:tnd

usecl

Shift,

LEDs

will

used,

respectively.

;~ccess

nundm-

Pregain, Pad, Postgain, Bass, Middle, Treble, md Presence

the

of tube gain

is active and

the preset

stag:es.

Bass, Middle, Treble, md Presence

selection~~

When Clean, Crunch, or Lead XC selected the

progmn

mapping,

13. Edit Button

This button

3ccesses

the editing functions for constructing new presets or editing existing ones.

14. Add/Del Button

This

button

15.

Bypass/Compare Button

L>ual

function

LMX~

button

used to

‘*dd”

bbclelet&’

coqm-e

effects from m effect

two presets (the one

ch:lin.

king

edited to the origiml) or to

the unit. When editing ;I preset the Compare function is accessed when this

that

this

play mock

lmtton

iprt-‘ss

prmml.

the

Pl;ly tmtton

to enter the play

mock>

the Bypass function is accessed

djustment

Down, md

and

pr0gt-m~

htton

for easy visibility.

to increment

for editing the

c-hange

to;

Bottom,

volume.

byp:lss

pressttcl.

When

wkn

Note: Only the

cli,git:ll effects

16. Global Button

This button is controller

Chapter

:tssignnlents,

Setup

can be k~yp~sd. The

W+X~

to access the view

global gain and EQ settings and the

tube

mglc

adjustment, gain

premq~

(TB)

cannot 1~

djustment, MIDI

chronlatic

tuner.

I~yp;lssecl.

settings, umtinuous

COAHVECTION DIAGRAMS

There are many ways to connect the Tube Fex into your instrument system. Shown here are some recommended hookups to give you optimd performance in some common situations.

1. Using the Tube Fex direct into a mono guitar amp.

This is the basic setup many

Connect your guitar to the Signal Input jack on the Tube Fex.

Connect the Left/Mono Unbalanced audio output to the input of the guitar amp.

If the signal from the Tube Fex overloads the input of your guitar amp, press the Global

access the

[GLOBI

display and adjust the output level by placing the cursor under Out

the v button until the overload condition disappears.

clubband

guitarists use. To hook up:

button

and pressing

Tube Fex

Chapter ISetup

Classic 30

2. Using the Tube Fex with a separate amplifier and speakers.

This is a typical home, practice, or stage setup where the Tube Fex is not directly connected into the

system, but played through a separate amplifier and speakers. To hook up:

Connect your guitar to the Signal Input jack on the Tube Fex.

Connect the Left/Mono and Right Unbalanced Outputs (stereo) to the Left and Right Inputs of the

amplifier, respectively. For mono opemtioa use the

If you haven’t already done so, connect the Left and Right Outputs of the amplifier to speakers.

LeJ?t/Mono

Output

only.

PA.

Classic” Series 50150

Classic’ 41 OE

Chapter

Setup

3. Using a separate preamp, distortion box, or effects processor in the Tube Fex effects loop.

If you wish to use the Tube Fex with

Showfex”‘,

Connect your guitar to

~(3

Connect the Left/Mono

you

can

put that processor into the

the

Signal Input jack on the Tube Fex.

and

Right Effects Send jacks to the external device’s Effects

and

Right Effects Return jacks to the external device’s Effects Smd

and

Right Urhalanced Outputs (stereo) to the Left

some added

pr”gr;ltl~m;ll,le

outboard effects processing,

effects loop of the Tube

and Right

such as

Fex.

the I+avey

To hook

Inputs

jacks.

j:lcks.

Inputs of

up:

the

amplifier, respectively.

If you

Note: For mono operation use only

hven’t

already done so, connect

the

Left and

Right

Outputs of

the

amplifier to

Left/Mono jacks in the steps shove.

spakers.

Chapter

Iasslc

Series

Setup

50150

Classic 41 OE

4. Using the Tube Fex in the effects loop of a separate preamp.

In this case, the Tube Fex is used as an outboard effects processor of your preamplifier. To hook up:

$50

Connect your guitar to your preamp’s input.

Connect the preamp’s Effects Loop send to the Signal Input jack on the Tube Fex.

Connect the Left/Mono and Right Unbalanced Outputs to the Left and Right Loop Return of your

preamp, respectively.

Connect the Left and Right Outputs of your preamp to your amplifier’s audio inputs

If you haven’t already done so, connect the Left and Right Outputs of the amplifier to speakers.

Note: For mono operation use only the Left/Mono jacks in the steps above.

To Signal Input of preamp

Tube Fex

Classice

Series 50150

To Loop Return

From Loop Send

From Audio Output

Classic’ 410E

Chapter

Setup

Direct connection to a mixing console.

When recording direct, or in some live situations, connect the Direct Outputs of the Tube &x directly into two channels of a mixing console. If you are using the Tube Fex as a guitar

pre;~mp,

you may want

to experiment with building sounds using the Speaker Simulator effect. To hook up:

Connect your guitar to the Signal Input jack on the Tube Fex.

Connect the Left and

Connect the Left and Right Outputs of your mixer to your amplifier’s audio inputs

If you haven’t already done so, connect the Left and Right Outputs of the amplifier to speakers.

Note:

We’ve found the

Right Direct

Tulx

Fex to be so recording friendly that you

Outputs to the Left and Right mixer inputs, respectively.

may

not need to

use

the Speaker

Simulator. Experiment and see.

Also, if you use the speaker simulator, you may want it to only affect the sound going

direct-to-~->oard.

To get signal to your monitor amplifier insert the fx loop directly before the speaker simulator and use the fx loop sends to carry signal to your monitor amplifier.

Tube Fex

Classic Series 50850

DPCTM

Chapter ISetup

1000

SPZXT

(Ampllfler)

----

DPC iooo

Classic 410E

SP2XT

THE

FIRST

This procedure is recommended the first time your Tube Fex is turned on after purchase from your Peavey dealer. This ensures that the memory is initialized and that the battery is fully charged.

Z3efollowingp~ocedu~e will overwrite all changes made to

facto y settings. Only

While holding both the v (down the unit by hirning on the power switch.

The unit has now been initialized to factory settings. It is recommended that you leave the unit turned on for at least three hours at this time to ensure the battery has a full charge. The unit’s battery should then last several years before replacement is required. The unit will warn you when the battery is getting low.

Battery replacement must be performed at an authorized Peavey Service Center.

T/ME YOU TURN IT ON (RE/NlTlAL/ZATION)

WARNING!

the

unit’s memo y

peeom

the following if you desire to re-initialize the unit.

/dec

arrow) and

rig&

arrow buttons on the front panel, power up

storuge, yeplacing

them with

Adjusting (Very

Once the connections are all made, set up the input and output levels of the Tube Fex as follows:

Turn on the Tube Fex and press the Global button until you get to the to 0: input level knob on the front of the Tube Fex, output level knob on the front of the Tube Fex, and the input level control on your power amp (if it has one).

Adjust the input level control on the front of the Tube Fex while playing your instrument. The level should

be set so that the

Then turn on your power amp. Set the input level control on the amplifier to your normal playing level. No sound will be heard from it yet.

Finally, slowly adjust the output level control on the front of the Tube Fex while playing until a suitable playing level is reached.

Set the Bass, Mid and Treble levels to taste. These settings are global. This is a very handy feature. For example: If you develop your effects at home and then go to a live stage and notice that there is not enough high end in that particular room/stage, all you must do is go to the the Treble (to taste). This will affect all of your patches.

The

Global Input And Output

Important)

Active/Clip

Levels,

LED just begins to turn red on your absolute loudest playing level.

and

Global EQ

[GLOBI

display; set all level controls

[GLOBI

display and adjust

Chapter

Setup

Chapter 2 Overview

GETTING STARTED

After connecting and

continuing on. This short section describes how you description of some of the functions of the optional MIDI Foot Controller.

Preview

I+essing the

will be under the letter that is currently selected. (See the section titled, Setting Up Your Programs.)

The number that 0 and 127. The name that follows the program number is the preset name. Following the preset a letter U, F, or C and the

preset memory bank

and C is for

While the being played. In this program 127 or

the Sounds from the

Play

cartridge

I-lashing

decrementing

:idjusting

the levels on the Tube Fex, you

c;in

quickly access each of the sounds

n~ay

wish to preview the sounds hefore

Front Panel

button twice will

A, B, or C in the top left corner of the display. This letter indicates the

immedizttely

preset number.

this preset is stored in: U is for

preset memory.

cursor is under the

nunner

:llways

follows the program bank, is the program number. It is ;I number between

you can listen to each one of the

below program 0 will switch to the next progr~n

ensure you are

This is the

program

bank pressing the v or A

in$q 73~)&.

preset

user

The cursor (short fl;lshing underline)

currently being

preset memory,

128

presets in the bank. Incrementing

plztyed.

is for

buttons

will

The

letter

factory

chqge

bank.

:lnd

gives ;I

program bank

indicates which

preset n~emory,

the program

llrief

n:lme

al~)ve

DEFINITIONS AND ABBREVIATIONS

Before continuing on into the terms used in describing abbreviations

you’ll

be running

Definitions

Preset:

This is the

thought

continuous controllers for that effects

memory banks

klctory bank;

you will 1~ saving these

can make changes to the presets in the

locations in the user memory or the cartridge. The unchanged, of

128

storqe

of 3s the effects

21s

presets

cle~~iled

functions

location of all

in the Tube Fex:

however, 3s you make

they came from the Peavey

l->ecomes availat->le

operations of the Tube Fex, it would 1~ helpful to understand some

and

cap:lbilities

gross

while

chain,

ch:~nges

programn+ng

parameters

the settings for

factory

in the user

for

of the unit. Also presented here is ;l reference list of the

chain.

and

ch:mges

f;lctov

fr1ctot-y.

play,

editing,

the Tube

pertaining to the sound itself. The preset can

311

effects in the chain, and the settings of

Each preset

user.

to the presets or create new presets

memory

memory, those changes can only 1~ saved to

When ;i

:md

Fex.

h:ls

a name. There

When new, the user

or the

f;sctoly

option4 RAM c;trtridge.

presets will

IIAM urtridge

storage.

is installed, ;I third bank

:11-e

l->:lnk

:lt 2~11

times 1~

two preset

identiul

from

scratch,

While you

:lvailable

to the

l->e

311

Chapter 2 Overview

Program:

A program is what changes when the Tube Fex responds to a MIDI program change command

(such as those sent to the unit from an optional foot controller). Programs are merely pointers to presets. This really comes in handy when setting up your performance. You can arrange your presets into sets and banks so that they can easily be recalled in playing order from the front panel, from an optional foot controller, or via MIDI. The Tube Fex has two banks of programs inside

it: Bank A and Bank B. Each has 128 programs in it, and each of these can be set to recall presets

from either user preset memory, factory preset memory, or from the cartridge. The cartridge also

provides a third program bank (bank

Abbreviations

Effect Types

CM - Compressor DS - Distortion

OD - Overdrive CH - chorus DL - Delay HF - Hum Filter

Pl -

Pitch Shift 1

~2 -

Pitch Shift 2

RV - Reverb

raphic

Band G

3B - 3 Band Sweep Mid Equalizer

4B - 4 Band Parametric Equalizer

Equalizer

C).

CQ - ‘Classic’ Equalizer PN - (Auto) Pan EF - Envelope Filter CT - Coil Tap EX - Exciter

SS -

Speaker Simulator ST - Stereo Simulator NG - Noise Gate

SP -

Splitter

F!X -

Effects Loop

TB - Tube (two 12Ax7 tubes)

TR - Tremolo

Parameters

Ba,

Bal - Balance

Band Pass BW - Bandwidth

C# Ch -

Channel

Control number

Env - Envelope

EXEC

Fb,

Fdbk - Feedback

Execute

Flt - Filter

Fq,

Fst L LP

Freq

Frequency

- Fast

Left

Low Pass

Lvl - Level

NgT

PD, Pdly Pram R

Recv

Re, Reson

Sh, Shft Slm Slo Sn,

Sens Spkr Thr

Xmit

Noise Gate Threshold

PreDelay

Parameter

Right Receive

Resonance

Shift Simulator

Slow

Sensitivity

Speaker

Threshold

Tape Simulator

Transmit

Chapter 2

Overview

CHROMATIC TUNER

The Tube Fex comes with a chromatic tuner to allow To access the tuner:

Chromatic Tuner

From

Note:

JYq

mode, press the

Global

GEzz

Tune

Press the status. To change the Tuner mute

Pressing

\Vhen

first stored.

St~re/Exec button

the Play,

entering the Tuner mode, any changes

Edit or

access

status, use

Global httom will exit the TLlner do

button one time. The following screen

TUNER C

Mode

the

Tuner

or move the cursor

the V and A buttons to change between

you

to tune your guitar using the front

sl~o~~l~l lx

TUNER

I’

+EXEC:+

u-&r Mode

one of

mzade

while editing ;I preset will lx lost

those phhr

to change the Tuner mute

p;uxl

displayed:

Bypass

pges.

and

udess

display.

Muted.

they

4. When the Tuner is accessed, you should see a display similar to one of the following:

----------I I------

C:tjTS:+l2

Note

is > 2 cents of being in tune.

The display on the right shows a note

little sharp and should be adjusted. Since the

the bar

far

to the left with ;I cents value of, CNTS:+l2. This would indicate that the note

+ +t4 0

T E :

that

is, essentially, tuned. The

bar

moves

Note

is 5 2 cents of being in tune.

21s

tracks

--11111111

t-1 15 T E :

display

the note, this display

on the

Ieft

shows ;I note that is

codd

also show

was shad-p.

Chapter 2 Overview

Chapter 3 Editing Programs

PLAY

Most of the time during performance, the Tube Fex will be in the pressing the change command (such as those sent by an optional foot controller). A typical display for play mode is shown below:

MODE

Play

play

mode. The play mode is accessed by

button. The Tube Fex also switches to play mode each time it responds to a MIDI program

173 Majestic

TB+twPl+P2+DL

As described in the quick start section, the first letter A in the display (with the flashing cursor under that the program being played is in program bank A. The number following it is the program number. The name is the name of the preset which that program points to. The U indicates that this preset is stored in user preset memory, and the number is the number of the preset.

On the bottom line of the display are the first five effects in the effect chain. (If the chain is longer than 6 effects, the others will not be shown. In this case, the chain is: Tube preamp is series with Noise Gate in series with

Pitch

Note: Lower case letters indicate that the effect has been bypassed.

Shift

in parallel with

Pitch

Shift 2 in series with Delay.

it)

indicates

SETTING UP YOUR PROGRAMS

Any program from any bank can call up any preset. In performance this is an extremely handy feature. To change which preset is called by the program currently selected, press the cursor is flashing under the preset name. Use v or A buttons to select the preset you desire to have to this program. Changes are automatically stored, so this is all you have to do. Press the left arrow button to select the program, switch to the next program, and set it up by repeating the above steps.

When a RAM cartridge is installed, programs in bank 11 or B can be

on the cartridge. If at a later time the cartridge is removed and this program is selected, the display will show:

*tW

GIRT*

programmed

?M+3B+OD+R’v’

The sound being played will not change. You should replace the cartridge, or select a new preset for this program.

A third program bank is available on the that the cartridge write protect is disabled; otherwise you will get the following message:

RAM

cartridge. ‘When reprogramming this bank, you must ensure

CFIRTRIDGE

WRITE-PROTECTED

right

arrow button so that the

to point to presets stored

mdpped

The program will not change. For more information on the

20 Chapter 3 Editing Programs

RAM

cartridge see chapter 5.

PERFORMANCE PARAMETER CONTROL

Most effects’ parameters can be varied during performance via MIDI control change available from the optional foot controller. Each preset can have up to eight parameters that respond to these changes. Most of the factor); presets are set up with controllers assigned to them mode of the foot controller to control change. Select an active controller by pressing the necessary buttons on the foot controller corresponding to the effect to be controlled. Now using the v or A buttons, you can change the value of that parameter during performance.

conmands.

(SW the playlist).

These are

Set the

VOLUME CONTROL DURING PERFORMANCE

The Tube Fex will respond to MIDI volume change messages (controller #7 >. These changes are global. That is, they affect the unit even after the program is changed. A CV pedal assigned to controller #7 will act as a MIDI volume pedal. You can reassign the volume to a different control be controlled from the front panel, but this is not usually done during performance. See chapter 4.

nun~ber

if you wish. Volume can also

Chapter 3

Editing Programs

Chapter 4

There are four major functions that can be performed via MIDI on the Tube Fex: change Programs/Banks; change effect parameters during performance via Continuous Controller messages; store presets on remote storage devices via MIDI system exclusive messages; and remotely edit and store any user accessible parameter using special Remote Editing program change messages when a new program is selected from either the front panel or via MIDI.

Using MIDI

SysEx

messages. The Tube Fex can also be setup to transmit MIDI

TRANSMITAND

MIDI messages are transmitted and received on one of sixteen different MIDI channels. The unit can be set to transmit messages on any of these channels, and to respond to valid incoming messages on any one or all sixteen channels. To change the channel the unit receives on, press the appears as below:

The cursor is flashing under RC (Receive Channel). Use the V or A buttons to select MIDI channel l-16 or

OMNI. OMNI

To change the MIDI channel the unit transmits on, press the

(Transmit Channel). Use the V or A buttons to select the desired MIDI transmit channel (one through sixteen).

To turn the transmit program change feature on or off, use the flashing cursor under When each time the program is changed either from the front panel or via MIDI (including changes sent from an optional MIDI foot controller).

ON,

will allow your unit to respond to valid MIDI commands received on any channel.

Transmit Program change will send a MIDI Program Change message out on the transmit channel

RECEIVE CHANNELS

Global

Recu RC TC TP DP LP DS

(Transmit Program Change). Use the v or A buttons to turn this feature

Ch=l

right

CMIDI 1

arrow

button. The cursor is now

right

or left arrow buttons to position the

button until the MIDI menu

fl&ing

under

OFF.

The other functions on the MIDI menu are system exclusive functions and are described in the section titled System Exclusive Remote Storage.

MIDI PROGRAM

The Tube Fex will respond to valid receive channel. Program changes will cause the unit to recall a program within the program bank currently selected. There are two banks of 128 programs in the unit’s memory, bank A and bank B. A third bank, becomes available when the optional RAM cartridge is installed. Program banks can be changed on the front panel by incrementing the program above 127 or below 0 while in play mode, or by sending a MIDI bank select message to the unit.

22 Chapter 4

CHANGEAND BANK

MZXP~oqam

SWITCHING

Change and Bank

5’eZectmessages

received on the unit’s

Using MIDI

The

format

of the

IMIDI

lxmk select message is:

(all

nunbers

HO 00 00 20

1iex;idecimal)

00/01/02

where:

130

00/01/02

A MIDI bank select

program is changed either via MIDI program change or

To set up the preset-to-progmn

MIDI continuous controller 0 (bank select)

bank high byte (always

MIDI 2 byte data indicator

00 selects bank A, 01 selects bank B, 02 selects

comnmd

will tell the unit to switch to a

from

map,

see chapter 2.

the front

M/D/ CONTINUOUS CONTROLLERS

Many of the

assignments are set up to take advantage of the optional MIDI foot controllers. Continuous controllers depending upon the not in Preset nieniory or the edit buffer. Continuous controllers for variation during performance. For a description of how to chapter 3. For ;I list of controller assignments of the

factory

presets in the Tube

vdue

of the controller message received. These

Fex llave MIDI

continuous controllers assigned to

GmeraZ Pzqbc~.s~ Cmtmllw

make tempor:lq chtmgus

fxtory

presets. see the

lxmk

program

in the new panel.

chmges

x-e

not intended for s(

Lssign

controllers to

bank the

next time the

them. ‘1’1~ c.ontroller

messagt~ transmittccl by an

dect pat‘anlctms

are

only

made in the 1

xmcl

editing,

lmt

c+ExYt p:~i*;tinetei-s,

pklylist.

>SP md

only

see

MID/ VOLUME CONTROL

The

Tube Fex

on or off, climge the controller

volume

Press the Global

With the cursor level

3ffects all

n-e refer to it 3s the

To turn the the bottom line of the

change

bottom

responds to

,\,!I111 1 ‘o/?l/lzc~(~ontr~)~~l-7)

tlxlt volunic’ rqxml.5

level. These functions are

lmtton se\7eral times

flmhing

presets md

under the

renxiins

~k,ha/~.olume.

MIDI ~olurne feature

displq. USV

the controller

line, and

use

nundxr

the V or A

pt’rfbnned

the

ON, press the

on the

until

volunie

the volume menu app~rs ;IS Ixlc w:

le\d,

smie e\.en \z.liile

the V or A

\xhich

the

Imttons

to select ;i new

conmxmd~

to, change the

Volume

use the

right

buttons

~~)lutne

V of A

arrow

to turn

responds,

on its

recei\,e rqx mse sde, (x inaniially undc~ the

l~uttons

climging

lmtton

MI111 W~U~W

controller

chmnel.

Global

adjust thv vc~lcrinv. This

from ant’ lxesct

~ncn.e

the cursor mclcr

ON or OFF.

pl:tcc

the

C’II~SO~ unclcr tile # sign

nunibm

You

hrttc

may

turn

this

dxmgc the

3tiotl1cr. ‘l’li3t’s b;l>p

midi:OFF

function

gI( )l,al

voluint

the

Chapter 4

Using

MIDI

The MIDI Scale can change the range of volume affected by the controller. A Scale of range control. To vary this, place the cursor under SC for scale and use the v or A buttons.

+50

will give you full

MIDI SYSTEM EXCLUSIVE REMOTE STORAGE

The Tube Fex can utilize MIDI System Exclusive (SysEx) to store and reload presets on a remote MIDI storage device such as a Peavey MIDI Librarian’“, MIDI Streamer’“‘, computer equipped with MIDI and the appropriate software. The Tube Fex can dump presets, sets of ten presets, or individual presets. When reloading sets or individual presets, they can be loaded back to where they originated or into any other set or preset location. Presets can even be reloaded directly into the edit buffer.

DPM@ 3,

or other sequencer or

all

the user

MIDI SysEx functions are in the MIDI menu under the until the MIDI menu appears.

Recu

RC TC

To dump a single preset to an external storage device (or another Tube Fex): In the MIDI menu display press the

right

or left arrow button until the cursor is under DP (Dump Preset).

Ch=l

TP DP LP DS LS

Durw Prst. Ul

RC TC

Use the v or A buttons to select the preset(s) Exec button to execute the dump. The display will briefly show:

Note:

The MIDI transmit channel of the Tube Fex must be set the same as the MIDI receive channel on the external device unless the external device is set to OMNI.

TP De LP DS LS

(l-128,

Global

Prst All,

button. Press the

[MIDI1

+EXEC+

Edit Buf)

to be dumped. Press the

Global

button several times

Store/

The Tube Fex can also dump sets of presets. The sets are arranged as follows:

Set 0 Set

Set

7 Set 8 Set

Set

10 Set11 Set12 120-127

O-9

10-19

20-29

30-39

40-49 50-59

GO-69

70-79

SO-89

90-99

100-109

110-119

Chapter4

Using MIDI

To dump a set of presets to an external device (or another Tube Fex): In the MIDI menu display press the

right

left

arrow button until the cursor is under DS (Dump Set).

11Jse

the 7 or A buttons to select the set (O-12) to be dumped. Press the

dump. The display will briefly show:

Store/Exec

button to execute the

Note:

The

MIDI

transmit channel of the Tube Fex must be set the same as the

external device unless the external device is set to OMNT.

MID1

receive channel on the

LOADING SETS OR PRESETS TO THEIR ORIGINAL LOCATIONS

To load sets or presets to their original locations from an external storage device or another Tube Fex, set the Tube Fex). Then send the set or presets to the Tube Fex. That’s all there is to it!

Note: See the owners manual of the storage device for instructions on sending

LOADING SETS OR PRESETS TO

To load sets or presets to a new location. Set the MIDI receive channel to match the the external storage device or Tube Fex. Then select LP (Load Preset) if loading a preset to a new location or LS the Tube Fex.

Note:

MTDT

receive channel to match the MIDI send channel on the external storage device (or other

MIDI

dumps.

NEW

(Load

Set) if loading a set to a new location. Select the new location. Then send the

The

MIDI

receive channel of the Tube Fex must be the same as the channel the data was transmitted on. An error message will appear if they are not the same. If this occurs, set the receive channel to the channel shown in the message :: ~1 transmit again.

LOCATIONS

MI111

send channel on

preset

or set to

omj+d~y

REMOTE EDITING USING MIDI SYSTEM EXCLUSIVE

A set of special system exclusive editing commands is available on the Tube programming of all effect parameters, effect levels, the effect chain, and The edit buffer can also be stored in any user preset location remotely. These changes immediately, but will not appear on the screen unless the

Appendix B

s0ft3m1-e.

Chapter 4

for complete remote editing command information for programmers of

Using MIDI

parameter

continuous

being edited is currently selected.

Fjex.

This will allow remote

controller assignments.

rem( w ect iting

can t>c

devices

heard

HOW TO SETUPA

CONTIAIUOUS

CONTROLLER

For this example let’s walk through the steps required to create a controller pedal. Assuming you have a continuous pedal hooked up to the Tube Fex via a MIDI foot controller, first select or write a patch that has the envelope filter (EF) effect and store it. Then push the Edit button, select

and push the

Move the cursor under your foot controller has channel 7 as a continuous channel send. Next push the Global button until the following screen is displayed:

Move the cursor under Pram and use the 7 and A buttons to select Freq. Next move the cursor under and select select effects. You can set the scale anywhere in between to adjust the effect to your tastes. Next press the and move the cursor under and select a frequency, try cursor under work the continuous controller pedal to try the effect. Adjust the envelope filter parameters and the scale to suit your taste. Press the Store button to save the settings and continuous controller to your preset.

Cntrl#=7.

+lOO.

It is

Edit

button again. Next, push the

REIGV RC TC TP DP LP DS

“^

and use the V and A buttons to select channel

Et#.JFLT #I

Pram C# Ch

Next move the cursor under Ch and select RCV. Next move the cursor under SC and

impor&nt

to select a filter, try

to note that the scale can be set from HO0 allowing normal or reverse wah

and select a sensitivity level. Try

50.

Next move the cursor under Rs and set the resonance, try 52. Next move the

LP-Slo.

Ch=l

Frvi

Next move the cursor under

Global

CMIDII

CCHTRLI

“wah

wah” effect using a continuous

button until the following screen is displayed:

For this example we will assume

wall

Edit

button

+48

to start. Next move the cursor under

and try a mix level of 50%. Now

Note:

Move the cursor under parametric EQ to create this effect.

If you get volume control instead of wah wah, push the Global button until the following screen is displayed:

midi

and change the setting to

VOLUME=100 CVULI

rni-di:Ot4

OFF.

SC=+54

Now try your effect.

You

can also use the

4-band

Chapter 4

Using MIDI

Chapter 5 RAM Cartridge

The optional

be accessed internal user to any preset in cartridge, user, or

Note: The RAM cartridge menus are accessed through the Global button.

/NIT/A

RAM Cartridges are sold separately by your Peavey Dealer. Ask for the new, cartridges must be initialized for use with the Tube Fex. To do this, press the Global get to the CART menu. Place the cursor under In (Initialize), and press the

RAM

individually,

memory.

L/ZING

Cartridge acts as a memory extension for the storage of

and played directly off the

The 128 additional programs appear as program bank C and can be set up to point

NEW

factory

CARTRIDGES

preset

RAM

memory.

cartridge without the need to move

128

additional presets. Presets can

C’U?W Ctird 32

Store/Exec

part

#7/02.3.

button

button.

them

into

When

until you

SAVING PRESETS ON THE CARTRIDGE

Presets may be stored individually to the cartridge by using the normal store procedure, or all may be saved on the cartridge by using the writes program bank A into the program bank C, converting all pointers to user presets into pointers to cartridge presets in the process.

Save User -> Cart

fLlnction

on the CART menu. This function also

user

presets

LOADING PRESETS FROM THE CARTRIDGE

Cartridge presets may be recalled individually from the cartridge to the edit buffer, or all presets may be loaded to user preset memory by using the program bank C into program bank A, converting all pointers to cartridge presets into pointers to user presets in the process.

Load Cart -> User

function on the CART menu. This function also writes

CARTRIDGE BATTERY

Most cartridges have a replaceable backup battery which maintains memory storage while the cartridge is removed from the unit or the unit is turned off. The battery will last from two to five years depending on the model. If the battery becomes low, the unit will warn you by periodically displaying the following screen:

Note: If this message is displayed you should back up your cartridge data immediately, then replace the

battery and restore the backed up data to the cartridge.

Chapter 5 RAM Cartridge

Tutorials

Here are several of the most common functions performed with the Tube Fex in tutorial form.

Editing

Why edit a preset? to adjust parameter settings to achieve the sound you are looking for. The easiest way to do that is to edit an existing preset and store it to a user location (since the factory presets are “read-only”). Initially you may notice that the factory presets and the user presets look identical-they are. They are also identical whenever the Tube Fex is initialized. This is because the Tube Fex copies all the factory presets to the user preset locations when initialized. So if you don’t want to lose your presets, we suggest you save them via MIDI. The MIDI Streamer’“, a MIDI Data Storage Processor, from Peavey is an excellent choice for doing this.

and

Storing a

While

Press the name/number in this example is

Press the

Play

Edit

Preset

we try to provide presets that kick a. .

button and use the v and A buttons to select the preset you want to edit. The preset

Abduction U4.

button one time.

. uh, that is, are useful, sometimes it is necessary

Position the cursor under the effect you want to edit. Use the

Press the

Position the cursor under the parameter you wantI( ) change.

5. move the cursor.

Change the value using the v and A buttons. (Go ahead, experiment!) Repeat steps 3 through 6 until all changes are made.

Now its time to store the changes you made (you don’t want lose your changes, do you?). Press the

Edit

button again.

Store

button.

?TORE C~bductim

;OUIRbductionm

From this display it is possible to change the name of the preset and set the storage location.

10.

To change the name: Press the

11.

then use the V and A buttons to change the character.

12.

To change the storage location: Press the then use the v and A buttons to select the new user storage location. That’s it! You have just successfully edited and stored a preset. Congratulations!

13.

left

arrow

left arrow

button until the cursor is under the first character of the name,

left

and

right arrow

$zEq

Use

the

button until the cursor is under the storage location,

left

buttons to move the cursor.

and

right

arrow buttons to

Tutorials

Program Mapping

‘TWX

the night before Christmas and all

1nouse.

. . whoops, wrong

stoly.

through

the house not 3 creature was stirring, not even

Once upon a time there lived a musician who to

chqqe

at a time. .

from one preset to the next (he had only one button to use,

.gasp!‘).

He wished that it was possible to take his favorite and most useful presets in such a way that he could move from one to the next with ease, that would be too cumbersome. It program mapping. This magical thing presets in whatever order he chose-it

Okay, to the next when

maybe

a Program Map isn’t

you

are using the front panel, or 21 foot controller with an increment and

A Program Map is simply ;I diagram

DualGuitar

When

nelv,

1).

reinitialized,

the Tube Fex restores the Program Map to the factory

was

then that this young

called a Program

was

‘~wondro~is”

that

was very

discouraged with the

musician

Map allowed the musician to place

a dream come true,

or even

points

“magic:il” but

fi-on1

a program

but

discovered a wondrous

and

it is a useful

hay,

program number corresponds one-to-one with the preset number (e.g.,

The following tutorial should help to illustrate the usefulness of the

Suppcxx

to them from

you ha\le

the

the following presets that

you

front panel of the Tube Fex:

use

all

the time

and

Pr~gr;im

you want to 1~

trdde

and

all it did was go up one preset

he didn’t want to

he had to go through

and

place them

reprogram

invention-

;tII

his favorite

progranin~ed lqpily

way

to move

fi-c

ever

~11

(

declwment 13utton.

Al > to ;I preset (for instance,

AO=I

defdt

JO. .

settings, where the

.ASO=l JSO,

etc.

Map.

al~le

to have

cl~lick

)ne

them,

after.

preset

;~ccess

Preset

IJllO

Fl12

u12 F64

Going from one preset to the next without mapping them would had to put up with.

Luckily,

ure are

going to show

Preset Name Current Program Map #

Thr-uO

OLltOfPllase

SwarmKorus

(Just

think

Dirt

WAH

about

you an asier

changing from

All0

I3112

A12

B64

ThruODirl

way using the

be nearly as Id 3s what oiir young musician

Program 11x1~. Pay

to do this once.

Press the Play button. This places number

and

the preset

rume/numher

Cursor under Program Number

2. Press the right arrow program number AO,

button

but

allows you to change the preset

you

in the

play

mode. In this mode you can view

on one screen. For instance:

Cursor under Preset Name &Number

one time to place the cursor under the preset name. This

name/numl->er

Target Program Map

Al A2

ArS

OutOfPhase

using the V

attention, we’re only going

assigned to AO.

and A

Id1 the

leaves

buttons!)

program

you in

Tutorials

3. Use the V and A buttons to change the Tube Fex-“I want to stay in program number AO, but I want to change the preset that program number A0 calls up from

Press the the cursor is under the program number, both the program number and the preset name/number change when either the v and A button is pressed.)

Press the A button one time to move to program number Al. This is like saying -“Okay, I’m through with program number AO, now I want to go to program number Al and assign a preset to it.”

lefi

arrow button one time to place the cursor under the program number. (Notice that when

Pouiindcake UO

Poundcake UO

ThruO

Dirt U

110:

110.

At this point you are telling

DualGuit.ar

;P~TE~~~~DL~CM~~~~~H~

6. Press the right arrow button one time to place the cursor under the preset name.

7. Use the V and A buttons to change

8. Press the

Press the A button one time to move to program number

lefi

arrow button one time to place the cursor under the program number.

DualGuitar

~ ;;jcT:;;t;;h-r

Fl12-1

OutOfPhase

A2.

112.

Tutorials

10. Press the

right

arrow button one

time

to place

the

cursor

under

the preset

name.

11. Use the V and A buttons to

12. Press the left arrow

13. Press the A

14.

Press the

button

right

arrow

15. Use the T and A

button

one time to move to

button

buttonsto

chqge

The Bosman

SwarmKorus

U 12.

one time to place the cursor under the program numtxr.

progrxn

number A3.

one time to place the cursor under the preset name.

Pja..hsticl2

TE+t-JG+P I +P2+DL

change Majestic12 U3 to FOLLOW WAH F64.

16.

Con~r:ltulatic)ns!

you’re familiar with program mapping.

You are now a

Progrxn

Mapping pro. (Okay,

maybe

you’re not 21 pro yet

Assignable Clip LED

After you’ve written 3 new preset, if you notice that the Clip have an

overlod

problem somewhere in the effects

chain.

LED

changes from green to

No problem!

Push

following screen appears:

iblove

the

CUTSOT

under Mtr

and

using the A and V buttons you can move the clip segment of the effects chain. As you move the clip LED play your instrument stay

gr-een

for the effects that have correct output levels, output that is overloading. Once you locate the or its output level to fix the

Tutorials

overloxl.

problem.

but

will turn

simply

prcx

red

when

the Edit

red,

the Global

1,171)

to the

and

watch the clip

you find

the

button and djust

but

at least

this means you

Ixrtton

output

LED.

effect,

until the

of each

It will

input or

the effect

Global Stuff: Utility, MIDI

These mini-tutorials provide instruction on several of the most common global settings for the Tube Fex. Each mini-tutorial is independent of the previous want to

and

proceed without wondering if you missed anything in a previous mini-tutorial!

and Controller

mini-hKorials.

Screens

This allows you to learn what you want when you

Settil zg

Setting

the View

1. Press the Global button until the following screen is displayed:

Position the cursor under display to a

1. Press the Global button until you get to the MIDI screen.

2. Position the cursor under RC; use the

the channel over which MIDI messages are received.

the MIDI

Aq$e

comfortd~le

Tmxsmit

p;yk~

VA,

use the

viewing angle.

Ch.znnel

right

or left

left

arrow

arrow button.

button. Use the V and A buttons to adjust the

TlJse

the V and A buttons to change

1. Press the Global button until you get to the MIDI screen.

;;; y;,,‘El:“::~

2. Position the cursor under TC; use the the channel over which MIDI messages are

1. Press

2. Position the cursor under TC; use the the channel over which MIDI messages are transmitted. (Make sure the receiving unit is set to receive

on the channel selected.)

the

Global

button until you get to the MIDI screen.

right

left

arrow button. Use the V and A buttons to chxnge

transmitted.

right

or left arrow button.

LJse

the V and A buttons to change

Tutorials

Position the cursor under preset to dump

via

MIDI.

DP;

use the

right

or lefe

arrow

button. Use the V and A buttons to select the

4. Press the Exec button to send the preset. The following display is shown:

(Loading a preset to its original location does not require a procedure. Simply transmitting unit. The Tube Fex will automatically store it in its original location.)

1. Press the Global button until you get to the MIDI screen.

2. Position the cursor under RC; use the the channel over which MIDI messages are received. (Make sure the sending unit is set to transmit on

the

cliannel selected.)

R p

F;IC TC

Position the cursor under preset to receive via MIDI.

Now send the preset to the Tube Fex from the transmitting unit.

LP;

use the

right

or left arrow button. Use the V and A buttons to change

I;. I..]r: h =

TP DP LP

right

or left arrow button.

CMIDII

[=I5 LS,

LJse

the V and A buttons to select the

You

should SW the following display:

send

the preset from the

If you see:

You need to:

c* I*

Tutorials

Set the receive channel on the Tube Fex to the MIDI channel shown in the

Send the preset again from the transmitting unit.

clispl;~y.

Appendix A Individual Effects

The Tube effect uses the two

12AX7

tubes to alter the audio signal in a more traditional manner. The

Tube effect has four modes (or voices) to select from. These are accessed by using the Mode button.

Note:

To change the tube mode you must be in Play Mode (accessed by pressing the Play button), Edit Mode (accessed by pressing the Edit button), or the Tube page (accessed when you press the Edit button a second time to begin editing the Tube parameters).

Configuration when

is on front end of

effects chain

________________________________________-,

Pre

‘------------------_______________________

_________________________________________I

Tube Preamp

Distortion

(Tubes)

Solid-State Preamp i

ADZ/

DSP

i’

Note:

The Global Input Level is non-functional when the Tube

CLEAN

CRUNCH

LEAD Four gain stages and a passive EQ for high gain distortion.

fi ULTRA

Parameters

The Pr @regain) parameter adjusts the amount of gain the signal has before entering the tubes. Range is O-100. When TB (tube) is present in a chain, turning the Pre Gain knob will alter this parameter’s value even if you are not directly editing the TB parameters.

Pd:

The Pd (Pad) parameter changes gain of first tube stage without effecting tone. Select either Hi (for distortion) or Lo (for clean).

Pt:

The Pt (Postgain) parameter adjusts the amount of gain the signal has as it leaves the tubes. Range is

parameter’s value even if you are not directly editing the TB parameters.

All other settings

(TB)

is at the front of the effects chain.

Two gain stages and a passive EQ to achieve clean to slightly distorted tones. Three gain stages and a passive EQ for medium distortion amounts.

Same as Lead, except with active EQ, allowing for greater tonal variation.

O-100.

When

(tube) is present in a chain, turning the

Post Gain

knob will alter this

Note:

Appendix A Individual Effects

The previous three parameters apply to all four tube modes; however, the following four parameters

(Bs,

Mi, Tr,

Ps)

change to

(Bt,

Bd, Sd,

Sh),

respectively, when ULTRA is selected as the mode.

A-7

Clean, Crunch, Lead parameters (Passive EQ)

B.S.

The Bs

(Bass) px-aneter

adjusts the amount of low frequencies present in the audio signal. Range is O-100. When TB (tube) is present in a chain, turning the Bass knob will alter this parameter’s

value

even if you are not directly editing the TB parameters.

hfi.

The

Range

(Middle) parameter adjusts the amount of midrange frequencies present in the audio signal.

O-100.

When TB

(tulx)

is present in a chain, turning the Mid knob will alter this

parameter’s value even if you are not directly editing the TB parameters.

The Tr (Treble) parameter adjusts the amount of high frequencies present in

Range is

O-100.

When TB

(tulx)

is present in a chain, turning the Treble knob will alter this

parameter’s value even if you are not directly editing the TB parameters.

The

PS:

(Presence) parameter determines the amount of high

Ultra parameters (Active EQ)

Bt.

The Bt (Bottom) parameter adjusts the amount of low frequencies present in the

Kange

SO.

When

(tube) is present in a chain, turning the

value even if you are not directly editing the TB

Bd.

(Body)

Range is

parameter adjusts the amount of midrange frequencies present

SO.

When

(tube) is present in a chain, turning the

The

value even if you are not directly editing the TB

Ed.

The Ed (Edge) parameter adjusts the amount of high frequencies present in

Range is

SO.

When TB (tube) is present in a chain, turning the Treble knob will

parameter’s value even if you are not directly editing the TB

St?.

The Sh (Shift) parameter determines the center of the two mid-frequency

to 900Hz in

Hz increments.

fi-equency

parameters.

parztmeters.

Bass

knol>

Mid

knot>

paramctors.

thy audio

boost or cut. Range is

audio

signal.

k30.

signal.

will alter this parameter’s

in the audio

will al

ter

the

IXNK~S. Range

this

adio

sigd.

par-ametu-‘s

signd.

dtcr

this

is 300Hz

Note: The Effects Loop

chain or when it is not used at all.

(FX)

is only

availal->le

when

the Tulx

(TB)

effect is on

the

front-end of an effects

A-2

Appendix A Individual Effects

The stereo Tremolo effect is the traditional amplitude modulated effect, with the exception of allowing

independence between left and right channels.

LFO

Parameters

LA-P:

Liz:

Rsp:

Rin: The

The increments of 0.1 Hz. The is 0400%.

The

in increments of 0.1 Hz.

is 0400%.

-IL

Left Output

Right Output

-?-

LFO

Lsp

(Left Speed) parameter adjusts the speed of the left modulator. Range is

Lin

(Left Intensity) parameter determines the amount of left signal being modulated. Range

Rsp

(Right Speed) parameter adjusts the speed of the right modulator. Range is

Rin

(Right

IntensitJ:)

parameter determines the amount of right signal being modulated. Range

0.0~10.9Hz

Appendix A

Individual Effects

A-3

Compressor

ccn)

The Compressor effect suppresses high input levels while boosting small signal levels as the The net result is a more consistent output volume and increased sustain.

1 --,I

Input

Peak Detect

Noise

output

Gate

Compressor L

(Sustain)

(Level)

Parameters

Ah%.-

Lw: N$27

521s:

The Atk (Attack) parameter adjusts the speed at which the compressor responds to increases

in signal

The

X Slow

to X Slow results in a very slow decay. The Sus (Sustain) parameter provides seven levels of sustain to that can be achieved by the compressor at small signal levels. Range is O-6. The Lev (Level) parameter adjusts the maximum output of the At low signal levels, a compressor’s gain

with no signal present. The suppression on the output. Range is

level.

Kang:e

Rel

(Release) parameter adjusts the time for the output signal to decay. Range is from

X Fast.

is from X Slow to X Fast.

Setting the release to

Ngt

(Noise Gate Threshold) parameter provides ten levels of noise

X Fast

mzty

results in a very rapid decay, while setting the release

vary

the maximum amount of gain

compreS.sor.

be very high, thus raising the

Range is 0400%.

level

l-10.

input

decreases.

of noise output

Distortion

The Distortion effect consists of a digital distortion followed by an equalizer section.

Parameters

The

PS:

Ft.

Bd:

signal. Range is The Ps section of the effect. The Ft (Fat) parameter controls the low frequency gain. Parameter range The Ed (Edge) parameter controls the high frequency gain. Range is *SO.

The

(Drive) parameter- controls the amount of distortion by pre-filtering

O-100.

(Post

Gain) parameter is used to reduce the signal level to prevent

Range

is 0-

100.

Bd (Body) parameter controls the mid

(IDS)

fbquency

gain. Range is *SO.

This

is a mono effect.

and

boosting the input

overdriving

&50.

the

A-4

Appendix A

individual Effects

Sk?

R.S.

The Sh

(Shift)

parameter is used to select the center point of the mid frequency range. The shift frequency is adjustable from 300 Hz to 900 Hz in 10 Hz increments. The Rs (Resonance) Range is

0.1

4.9.

parameter

adjusts the bandwidth of the midrange frequency.

Overdrive

(OD)

The Overdrive effect consists of an overdrive type digital distortion. Overdrive is a mono effect.

Pre-

)

(Lo-Roll)

Parameters

LR:

PII:

Cl:

The LR (Low

Rx-ge

The PD

Rolloff)

NORML,

(Pre

Drive) parameter is a gain control used to overdrive the signal.

parameter is used to adjust the overall tone by rolling off the low frequencies.

and 0.1 to

1.9

(kHz).

Range

The Cl (Clip) parameter is a “soft-clipping” control which provides increased sustain. the clip level increases the sustain. Range is O-99.

Note:

As the clip level is reduced, the overall output level of the overdrive is reduced. Therefore, clip levels will require a large increase in output volume. This can greatly decrease the dynamic range of the effect and increase noise.

i-10.

Reducing

very

low

Lv.

The Lv (Level) parameter adjusts the output level of the Overdrive effect. Range is 0- 100%.

Appendix A

Individual

Effects

A-5

The versatile Chorus effect allows for generation of all the common modulated effects (Chorus, Flange, Doubling) and many uncommon effects. The Chorus effect can create a stereo effect from a mono input, or maintain the stereo integrity of a stereo input.

Left

Input

Right

Input

Parameters

Rt:

Dp, Dl:

Fb:

AIx:

The Rt (Rate) parameter controls the chorus rate. Range is The Dp (Depth) parameter controls the chorus depth. Range is 0400%.

The DI (Delay) parameter controls the width of the Chorus modulation. Range is The Fb (Feedback) parameter is used to create flange effects. Range is The Mx (Mix) parameter sets the direct/effect mix. Range is

Feedback

-;‘~

Feedback

O-9.9Hz.

. Left Output

+ Right Output

O-28.9ms.

&99.

-tlOO.

Some setting exawples:

To produce a Chorus effect, try setting:

Rt: Dp:

DI:

Fb: Mix:

To produce a Flange effect, try setting:

Rt: Dp: DI: Fb: Mix:

A-6

1.4Hz

31%

3.0ms

+lOO

O.lHz

100%

6.lms

+42 +43

To produce a Doubling effect, try setting:

Rt: Dp:

DI:

Fb:

Mix:

2.1Hz

13%

15.8ms

+ll

+69

Appendix

hdividual

Effects

The Tube Fex offers three types of delays: Stereo, Tapped, and Mono. Each of these delays offers the to set the delay time using a special MIDI Sync Delay feature. The Left and Right delay times can IX set independently to track MIDI clock messages.

ability

Stereo Delay

A true stereo delay with delay times from 0 to 255

a normal delay.

Left

Input

Right

Elator

k-1

Input

elks

if using the MIDI sync feature or 0 to

Feedback

Mix

_ ‘,,

‘\

361 ms

l Right Output

if using

Parameters

‘I.Y:

LD:

LE.

Ts:

A&X:

Appendix A Individual Effects

The Ty (Type) parameter selects the type of t The parameters will change depending on the type of delay selected. The

(Left Delay) parameter selects the amount of delay on the left channel. Range is The LF (Left Feedback) parameter selects the amount of delay feedback on the generates a repeating or echoing sound. Range is O-99%. The

(Right Delay) parameter selects the amount of deby on the right channel. The RF (Right f;eedhack) parameter selects the amount of delay feedhack on the right channel. This generates a repeating or echoing sound. Range is O-99%. The TS (Tape Simulator) parameter is used as a low pass filter before the signal is the

feedhack

lK,

2K, 4K,

The Mx (Mix) parameter sets the direct/effect mix. Range is

~.day

desired.

circuit. This feature is used to simulate a warmer, more realistic room sound. Range

SK, or OFF.

Select

+lOO.

STEREO, TAPPED, or MONO.

O-361ms.

lef‘t

channel. This

l<tngtl

O-361ms.

put

through

A-7

This delay creates a stereo delay from a mono source. The range is from 0 to feature and 0 to 724 ms if using a normal delay.

Left

Input

Right ) ~ ,

Input

Parameters

255

elks

if using the

Right Output

MII>T

sync

TY.

LD.

RD:

Fb.

A&+:

The Ty (Type) parameter selects the type of delay desired. Select The parameters will change depending on the type of delay selected.

The LD (Left Delay) parameter selects the amount of delay on the left channel. Range is when using the MIDI Sync feature or The

(Right Delay) parameter selects the amount of delay on the left channel. when using the MIDI Sync feature or The Fb (Feedback) parameter selects the amount of delay feedback. Feedback is always taken

from the longest delay output. The TS (Tape Simulator) parameter is used as a low pass filter before the signal is put through the feedback circuit. This feature is used to simulate a warmer, more realistic room sound. Range is lK, The

2K, 4K, 8K,

(Mix) parameter sets the

or OFF.

Kange

O-724ms

is O-99%.

direct/effxt

using normal delay.

when using normal delay.

mix. Range is

STEREO, TAPPED,

~fi

100.

Kange

MONO.

O-255clks

0-255clks

A-8

Appendix AIndividual Effects

A Mono delay with delay times ranging from 0 to using a normal delay.

255 elks

if using the MIDI sync feature or 0 to

724

ms if

Right Inpu

Parameters

The Ty (Type) parameter selects the

TV.

The parameters will change depending on the type of delay selected.

DI. Fk?

The DI (Delay) parameter selects the amount of delay. Range is The Fb (Feedback) parameter selects the amount of delay from the longest delay output. Range is O-99%.

The TS (Tape Simulator) parameter is used as a low pass filter the feedback circuit. This feature is used to simulate a

is lK,

il/l”Y.

The Mx (Mix) parameter sets the direct/effect mix. Range is

t+--

2K, 4K, 8K,

or OFF.

type

of delay desired. Select

STEREO, TAPPED, or MONO.

O-724ms.

feedlmck.

hefore

nrarmer, more

k100.

Kight

Output

Feedback is always taken

the signal is put through

realistic room sound.

Range

Appendix A individual Effects

A-9

Pitch 1 and Pitch 2

(PI

and

P2)

In order to allow stereo pitch shifting yet still have a pitch shifter available which does not use a large amount of effect space, we have developed a pitch shift effect with a panning input and independent left and right

mix

control. This effect is the only one that can be used in two locations in the chain

sim~lltanet,usly,

thus

allowing true stereo and independently controllable pitch shifting on each channel.

By placing two pitch shifters in parallel or series, and setting their inputs and mix levels panned to opposite sides, independent stereo detuning will be available.

Parameters

I/l:

PD:

Pt:

Fb:

LX5

Rrz%*

The In (Input) parameter controls the left/right input pan.

The

(I?eDelay )

parameter allows up to

milliseconds of delay before the pitch transposition begins. This creates a doubling or chorusing type sound. Range is The

(Pitch) parameter is used to select large amounts of transposition in half‘ step increments.

Range is & 12 ( 1 octave).

The

(Cents) parameter is used to fine tune the transposed pitch when necessary. Range is

(‘,/2

step is 100 cents) The Fb of the The LM

Weedl>ack>

I’rcDelay.

(Left

This can be used to create climbing or descending pitch type. Range is O-99%.

Mix) parameter controls the direct/effect

parameter controls the amount of output signal that is sent

mix

to the output of output channel. Range is 0400%. The

(Right Mix) parameter controls the direct/effect

mix

to the output of the effect

output channel. Range is 0400%.

O-46ms.

llack

the effect

*SO.

to the input

for

tile

left

li)r

the right

A-10

Appendix A individual Effects

Reverb

(RV)

The versatile stereo Reverb effect contains eight types of reverb, each with fully adjustable parameters.

Reverb

eo fi TUNNEL 6 b & fi HALL 6 b

Types

PLATE

SPRING ROOM STAGE

GATED

REVRS

Produces a smooth reverb similar to that achieved with plate-reverbs. Produces the many echoes associated with the acoustics of a tunnel. Simulates the reverb produced by a spring reverb machine. Produces the ambience of a live room. Produces the ambience associated with a club stage. Produces the reverberation ambience associated with a concert hall. Produces a smooth rolling reverb that cuts off sharply rather than decaying away. Produces a reverb that builds from a quiet attack to a sharp decay, giving the impression of an instrument sound being played in reverse.

izk

Reverb

Parameters

Ty:

The Ty (Type) parameter selects the type of reverb desired. Select PLATE, TUNNEL, SPRING,

ROOM, STAGE, HALL, GATED,

of reverb selected.

PD.

Dp:

Mix.

The Sz (Size) parameter determines the size of the reverb being used. Range is

LARGE,

The PD reverberations begin. Range

REVRS

Tk?:

The Tm (Time) parameter allows vary each reverb time. Range is 0-30s (seconds) for all reverb types except The Dp (Damping) parameter controls the overall tone of the reverb being produced. Range

is 125 Hz to 8 being decayed very quickly; higher settings (4 to continue on in the reverberation. This parameter is not available when using the GATED

or REVRS reverb type. The

HUGE.

(PreDelay)

REVRS.

This parameter is not available when using the

parameter determines the amount of delay that is to be added before the

O-46ms.

This parameter is not available when using the GATED or

The parameters will change depending on the type

SMALL, MEDIUM,

GATED

REVRS

reverb type.

GATED and REVRS.

kHz

or OFF. A low setting (250 Hz) results in high frequency reverberations

(Mix) parameter controls the direct/effect mix at the output of the effect. Range is

For

GATED

and

kHz,

REVRS

kHz,

or OFF) allow the high frequencies

types, the range is

25365ms.

reverb type.

0400%.

Appendix A individual Effects

A-77

Clussic

(CQ)

The Classic Equalizer effect is a sweepable mid EQ used on many guitar amplifiers.

Parameters

Lo.

r2ld:

97:

Hi.

The 5-Band Graphic Equalizer effect is a full stereo, five-band EQ with

The Lo (Low) parameter controls the level of the low frequency range. Range is

The Md (Mid) parameter controls the level of the mid frequency range. Range is The Sh

(Shift)

parameter is used to select the center of the mid frequency. Range is

The Hi (High) parameter controls the level of the high frequency range. Range is

5Band

Graphic Equalizer

(5B)

&12

dB gain on each frequency band,

100.

O-100.

allowing emphasis or de-emphasis of any of the five bands. The center frequencies of the five bands are as

follows: 100 Hz, 330 Hz, 1

The 3-Band Sweepable Mid EQ effect is a standard stereo EQ with

kHz,

S-Band

kHz

EQ with

Sweepable

Mid

(3B)

&12

dB of gain on each frequency

hand.

Parameters

Q. The Ty (Type) parameter allows you to select from the following three EQ types: Guitar, Voice,

and

Drastic.

Lo:

AlIP?:

Mid

Hi.

The

(Low Gain) parameter adjusts the gain of the low frequency band parameter. Range is

The

MFrq

(Mid Frequency) parameter is used to select the center frequency of the mid frequency

band. Range is 99 Hz-3.3

kHz.

The Mid (Mid Gain) parameter adjusts the gain of the mid frequency

Range is

60.

The Hi (High Gain) parameter adjusts the gain of the high frequency

Range is

&SO.

hand

band

+SO.

parameter.

4-Band

Parametric EQ

c4B)

The Parametric Equalizer is a four band stereo equalizer with individually bandwidths, and gains for each of the four bands.

Parameters

Band+

Frq:

Guin:

The

Band#

bands. After a band has

13e

made for that particular band.

(Band, where g is 1, 2, 3, or 4 ) parameter is used to select any one of the four

heen

selected, the frequency,

lxmdwiclth,

The Frq (Frequency) parameter is used to select the center frequency point of each Range is 20 Hz-16 The BW (Bandwidth) parameter determines the width of the

The

Gain

parameter adjusts the gain of the band. Depending upon the setting, the gain can be used

kHz.

band.

to emphasize (+dB) or de-emphasize (-dB) the particular band. Ranges is -24dB

A-72

adjustable

and gain setting may

Range is

Appendix A

center frequencies,

band.

1-l/100

of an octave.

to +12dB.

individual Effects

Hum Filter

The Hum Filter effect is effective in removing the A.C. line noise from a signal.

Parameter

(HF)

Fq:

The Coil Tap effect is a special digital filter which can be used to emphasize or

Parameters

FLJ

Ph:

The

Exciter effect uses a “distortion technique” to add harmonics.

distorted sound, but instead produces an exciter effect.

in a

The

(Frequency) parameter selects between an AC line frequency. Select either

50Hz

(European).

Coil Tap

When the phase parameter is set to a positive number, the amount of harmonics being emphasized. When the phase parameter is set to a negative number, the harmonics are de-emphasized. Range is The

(Phase) parameter is used to select the emphasis or de-emphasis of harmonics. Setting the Phase to a positive number will emphasize harmonics, while setting the Phase to a negative number de-emphasizes the harmonics. Range is

Exciter

&‘T,l

10.

(EX)

(Frequency) parameter controls the

k100.

Using this technique does not, in fact, result

60Hz (IJ5.A.)

de-emphdsize

harmonics.

Parameters

ly.

Ku.

The Dr (Drive) parameter setting determines the amount of harmonics added. Range is 0 (no harmonics) to 100 (maximum harmonics). The Tu (Tune) parameter controls the amount of emphasis. Range is frequencies) to 4.9K (excites higher frequencies). The Ty (Type) parameter is used to select between three different distortion types which three different sounds. Range is type 3 adds even and odd harmonics. The Ba (Balance)

parameter

O.lK

(excites lower

product

1-3.

Type 1 adds even

is used to set the balance. Range is 0 (direct) to 100 (excited).

han-nonics,

type 2 adds odd harmonics,

Appendix A

Individual Effects A-73

Envelope Filter

(EF)

The Envelope Filter effect is an amplitude modulated filter. As the input signal level to the envelope filter changes, the filter frequency changes. This effect is sometimes referred to as an

“automatic wah.”

Parameters

The

k100.

(Sensitivity) parameter is used to adjust the sensitivity to changing input signal levels.

If the sensitivity is set to a positive number, then the filter frequency will increase with

Range

a rising input. If sensitivity is negative, then frequency decreases with a rising input level.

The Fq (Frequency) parameter adjusts the starting point of the filter frequency.

From there the filter will sweep up or down (depending on sensitivity) as the playing

frequency ranging from 2K to values correspond to the frequency range 100 Hz to 2 When the Bandpass filter type is selected, the KS (Resonance)

SK,

respectively. When the sensitivity is positive, the frequency

kHz.

parameter

is used to adjust the

amount of the Bandpass filter. Kange is 0 (narrowest) to 100 (widest). When the

Kange

level

Lowpass

O-100.

changes

filter

is selected, Resonance adjusts the steepness of the filter cutoff. The Ty (Type) parameter is used to select the filter type. Select

(lowpass-fast), BP-Slo (bandpass-slow), or

BP-F&

(bandpass-fast).

LP-Slo

(lowpass-slow), LP-Fst

The Mx (Mix) parameter is used to control the direct/effect mix at the output of the effect.

Range is 0400%.

Auto Pan

(PN]

The Auto Pan effect is used to pan the output signal between the left and right outputs. The panning rate and depth are both user selectable. The Auto Pan is a stereo effect.

Parameters

Rt.

Up:

The Rt (Kate) parameter selects the speed at which the signal pans between the two outputs.

Kange

O.O-99.9Hz.

The Dp (Depth) parameter determines the amount of signal being panned. Kange is

Selecting a depth setting of 10% would yield a less

clefined

pan, and setting the depth to 90%

O-100%.

would result in a deep panning from side to side.

A-14

Appendix A individual Effects

Speaker

Simulation (SS)

The Tube Fex has four stereo speaker simulation curves:

2x12

4x12 Cabinet

4x12 British

Open Closed

Simulates the frequency response of an open backed Simulates the frequency response of a closed backed

cabinet.

Simulates the sound of four 12” speakers in a single cabinet. Simulates the frequency response of a well known British manufacturer’s guitar speaker setup.

These speaker simulation curves are convenient for both live performance and recording applications where the guitar is directly connected to a mixing console.

Tip: To

try

only affect adding the

what goes out the balanced (direct) outputs

following

. . .

+FX+SS

to the end of vour effects chain:

(use the stereo Effects Send outputs to go to your cabinet)

Stereo Simulator

and have full range going to your cabinet

(So

A transverse filter approach is used to simulate stereo separation of a mono signal. The mono signal is fed into a comb filter and the output and input is summed in the right channel and subtracted from the left channel. The resulting output simulates stereo separation of frequency bands. separated frequency bands. There is a

LowI’ass

filter which, when on, will keep the bass centered between

Tune

adjusts the distance between the

the two channels. The Depth of the stereo separation is variable from 0400%.

Parameters

The LP

(LowPass)

parameter is a

lowpass

filter which, when on, will keep the bass centered

between the two channels. Choose ON or OFF.

TUm:

Dc$d:

The Tune parameter adjusts the distance between the separated frequency bands. Range is

The Depth

100~SOOHz.

parameter

is the depth of the stereo separation. Range is

O-100.

The Noise Gate effect is a

downward

Noise Gate

expander.

(NG)

The Peak level is determined by the input signal plus attack and decay variables which set the speed at which the peak can change.

Parameters

The

Atk

(Attack Time) parameter is used to remove sharp attack transients. The larger this number

the longer the attack will take to open the gate once closed. Lange O-99.

Rd.-

The

Rcl

(Release Time) parameter adjusts the amount of time it takes a decaying signal to drop below the threshold. The larger this number the longer it will take for a decaying signal to drop below the threshold. Range

Appendix A Individual Effects

l-99.

A-75

71~

SUZ:

The

Thr

(Threshold) parameter sets the level, in

to close. Range is -2 to -90

The Sen (Sensitivity) parameter determines the peak level below threshold that the gate will be

fully closed.

Kange

l-9.

dB.

dH,

below digital clipping that the gate will begin

Eflects

The movable effects loop appears just as any other effect and can be placed anywhere in the effects chain. The sends are stereo and are available from two jacks at the back of the unit. The this stereo signal may be summed in stereo with the output from the The signal returning to the then passed on to the next effect in the chain.

Note:

When a MONO signal is returned, plug the signal into the LEFT/MONO effects return jack. that 100% of the return signal is summed back into the A/D converter.

Instrument

Input

lil)

DSP

is summed to mono, then added to the stereo direct signal. This signal is

Sends

D/A Converter

Loop

(I;x)

Returns

returns

DSP

after the last effect in the chain.

are in stereo, and

This

OutpLlts

ensures

A-76

DSP

Effects

Effects Loop

Appendix A Individual Effects

Parameters

Send: The

Dir: The Dir (Direct Level) parameter determines the level of the direct signal that is mixed with the

Rtn: The

Send

(Send Level) parameter determines the level of the signal that is sent to the Effects Send

jacks. Range is

O-100.

input from the effect loop returns. Range is

Rtn

(Return Level) parameter determines the level of the signal that

O-100.

returned to the effects

chain. Range is O-100.

Sum: The Sum (Summed Return Level) parameter turns ON and OFF an analog switch that sums the

stereo returns with the analog output from the digital effects.

Splitter/B&Amp (SP)

The

splitter/hi-amp

effect enables you to split the stereo signal into two separate chains, placing different effect types on each chain. The signal following the splitter is MONO and only appears on one channel. Therefore, note that the signal on the LEFT path (top line) only passes through the LEFT half of effects following the splitter, and the signal on the RIGHT path (bottom line) only appears on the RIGHT channel of effects following the splitter.

High Pass Filter

Effects

Left Out

Effects

Balance

Low Pass Filter

Splitter/&-Amp

Parameters

A&x&There are two modes available; SPLITTER and Bal:

Hi-L;

Lo-R:

The

Bal

(Balance)

parameter

controls the righ a normal stereo balance where the signal output from both sides is 0,

100%

of the right signal is passed through and none of the left signal is passed; at of the left signal passes and none of the right signal is passed. This is a high pass filter that allows frequencies higher than the specified frequency to pass to the left channel. Range is 20 Hz to 3.3

kHz.

This is a low pass filter that allows frequencies lower than the specified frequency to pass to the right channel. Range is 20

to 3.3

kHz.

Effects

#‘left

BI-AMP.

balance of the splitter output. This works like

100%

at a balance of 50; at

Right Out

100, 100%

This parameter is not available when SPLITTER is

This parameter is not available when

SPLITTER

is used.

used.

Appendix A

Individual Effects

A-17

Appendix B MIDI Implementation

MIDI Implementation

Model: Tube Fex

Date:

1195

Version: 1

Function Transmitted Recognized

Basic Channel Channel

Mode

Note Number

Velocity Note On

After-

touch

Pitch Bender

Control Change

IkhUlt

Default Messages X Altered

True Voice X 0

Note Off

Key’s

Ch’s

l-16

X X

l-16

X X

O-120

Remarks

Memorized

MIDI Dynamic

Effects Controller

MIDI Dynamic

Effects Controller

MIDI Dynamic

Effects Controller

MIDI Dynamic Effects Controller

Controller

B)pl-i”S

#c)l-

Program Change

System

Common : Tune

System Real Time : Commands

Auxiliav: All Notes Off

Messages: Active Sense

Mode 1 : Mode 3 :

Appendix 13MIDI

Tru

Songs

Song

Clock

Local On/Off

Reset

OMNI

ON, POLY

OMNI

OFF, POLY

implementation

1’0s

Se1

Mode 2 : Mode 4 :

OMNI

ON, MONO

OMNI

OFF, MONO

O-127 O-127

X X X

X X

X X X X

0System Exclusive

X X X

0 X

X X X X

0 : Yes X : No

Appendix C System Exclusive Format

The following is the format for the System Exclusive dump and load requests:

FO 00 00 1B

Where:

rs ch

cm nn =number of selected

data cksum

Note: For valid SYSEX DUMP requests, the

Table of

Note: All numbers are in hexadecimal

cm nn

00 nn Dump One Preset (nn = 00 02 nn

06 -

Dump All Programs

OE - Dump Edit Buffer

rs ch cm nn data . . . cksum (data . . . cksum . . .) F7

reserved for future use.

= MIDI =

receive channel.

MIDI command. (See Table of

IJser

Preset or Set. (Include only for Dump One Preset, Dump One

or Dump Set requests. Do not include in Dump All Presets, Controllers, or Programs.)

parameter data included only in load messages.

modulo 128 checksum included only in load messages.

Comtnands)

Commands

7F)

including continuous controllers.

L>ump

Preset Set (nn = 00 -

Dump All Presets (nn not included)

OS)

including continuous controllers.

data

and checksum is not included.

inclucling

continuous controllers.

Controb-,

Dmp

Dump Prext DuI’IZP

Dump All

Dump

One

PTesel?

Set:

All

Presets.

P~~~rutizs:

Edit

&@er

~>umps

Dumps ten preset’s Dumps all 128 user preset’s parameter data, continuous controllers, and the program/ volume

Dumps the program/volume map.

Dumps contents of name, chain, parameter, and continuous controller

one preset’s parameter data and continuous controllers.

parameter datd

I-Ildp.

and continuous controllers.

fi-om

edit

buffer.

SYSEX Dump File Format

The following information is provided for programmers wishing to make use of sysex dump files to initialize remote editing software.

The first ten

Following that, in

Finally come in the remote editing

Appendix C

bytes

transmitted in response to a dump one preset request is the sysex

nybl~lizcd

125) nybblized bytes comnyands.

SysEx

Format

form are ten

representing the effect parameters. The

The order of the effecz and the number of bytes for

mmbytes.

Next come ten

n$$Yizedt~ytc’s

fornut

representing

of this

data

load

one

preset

the ef’fecb

is the

same Ii ~-mat

each

effect is as follows:

header.

chain.

used

C-7

Levels: Reverb: Overdrive: Chorus: Delay: Compressor:

Pitch1 :

Coil tap:

Speaker sim:

band eq:

Pan:

Then follow twenty-eight nybblized zeros (at the time of this printing). This is an expansion area for effects in

fllture

updates to the Tube Fex.

Following that are forty nybblized bytes representing the eight continuous controller assignments. Once again, the format is the same as the remote editing format in Appendix D.

The last two bytes are the Modulo 128 checksum and the End Of Exclusive message. dump all format:

8 bytes 8 bvtes

bytes

bvtes

bytes

2bytes

byte

bytes

bvtes

bytes

Env. Filter: Exciter: Classic eq: Noise gate: Distortion: Hum filter: Stereo sim:

Pitch2:

Effects loop: Tube: Tremolo: Splitter:

bytes

bvtes

bytes

byte

bytes

7bytes

bytes

During a sysex dump, all

during reload. These are followed by the two program maps.

128

presets are dumped each with its own modulo 128 checksum for error trapping

System Exclusive Dump Examples:

To dump Preset #l

FO 00 00 1B 09 05 00 00 00 00 F7

To dump Preset Set #3

FO 00 00 1B 09 05 00 00 02 02 F7

To dump all Presets over MIDI channel 1, send the following string:

FO 00 00 1B 09 OS 00 00 04 F7

To dump all Programs over MIDI channel 1, send the following string:

FO 00 00 1B 09 05 00 00 06

(OOH)

over MIDI channel 1, send the following string:

(02H)

over MIDI channel 1, send the following string:

To dump the Edit Buffer over MIDI channel 1, send the following string:

FO 00 00 1B 09 05 00 00 OE F7

c-2

Appendix C Sys

Format

FXJY4PE

This is the command to edit the effect chain. Pram is a number between 0 and 7 which corresponds to the

location of the

(all numbers in hexadecimal)

Data 00

01 02

04 05 06

07 08

OA OB oc OD OE OF

0: Effect

parameter

End of Chain

Compressor

Distortion

Overdrive

chorus

Delay

Pitch

Reverb

Classic EQ

Band Graphic Equalizer

Band Mid Sweep Equalizer

= =

Band Parametric Equalizer

Hum Filter

Coil Tap

Exciter

Envelope Filter

Pan

Speaker Simulator

Stereo Simulator

Noise Gate

Effects Loop

Splitter

Tube

Tremolo

End of Left (top) path

Chain

in the effect. The data corresponds to each effect as follows:

Important note to programmers:

location, then be sure to add an End of Left Path in the position following the last desired effect for the left

path. Right path effects follow this marker. When deleting the splitter from the chain, the end of left path marker

must be replaced with an End of Chain marker before replacing the splitter with another effect.

D-2

When adding a splitter to the chain, add the splitter at the desired

Appendix D

Remote Editing with SysEx

Effects can be added to the current end of the effect chain, or any existing effect can be changed to another type. Any attempt to add an effect beyond the end of the existing chain or to duplicate an existing effect will

be ignored by the unit.

FXJIPE

This

conmand

Compressor

allows remote access to the Compressor parameters. The data is stored as follows:

PRAMI

0 = Attack Time

Release Time

2 = Sustain

3 = Level

4 =

Noise Gate Threshold (O-9 => l-10)

FXJ’YPE

Distortion

PRAM 0 = Drive

1 = Post Gain

Fat (Bottom)

= Edge

4 = Body 5 = Shift

6 =

Kesonance (units)

7 = Resonance (tenths)

FXJIT’E

Overdrive

PRAM 0

LoRollOff

2 =

3 =

PreDrive

Clip Level

Output Level

(units) \ (tenths)

may

\ may

be loaded as 1

byte or

2 bytes of data

be loaded as 1 byte or 2 bytes of data

FX-f’KPE 4:

cJ9ou;us

PKAM

0 = Rate (units)

1= Rate (Tenths)

\ may

2 = Depth

Delay (units) \

4 =

Delay (tenths)

Appendix DRemote Editing with

may

be loaded as 1 byte or 2 bytes of data

be loaded as 1

SysEx

byte

or 2 bytes of data

D-3

= Mix

Feedback

(o-200 =>

(O-200 =>

-100 to

+lOO)

FX-TKPE 5:

PRAM 0 = Left (mono) Delay (low byte)

1 = Left (mono) Delay (high byte) 2 = Left (mono) Feedback

3 =

Right Delay (low byte)

= Right Delay (high byte)

j = Right feedback

= Mix

7 = Tape

FXJITPE 6=

PRAM

0 = Pitch (O-24 => -12 to 1 2 = Feedback

= Left Mix

4 =

5 = 6 =

Input Pan

(O-200 =>

Sim /

(high nybble = tape sim freq, low nybble = delay type)

Cents

PreDelay

Right Mix

-hY

-100 to

Delay Type

Pitch

(O-100 => -50

Length

(O=full

Shift

right,

+lOO)

+l2)

+50)

lOO=full

may be loaded as 1 byte or 2 bytes of data

left)

FX-TYPE

PRAiVl

= Left Mix

= PreDelay

= =

FX-TY?‘E

PIitAn4

0 = Type 1 = Size 2 = Time (seconds)

= Time (tenths)

4 =

5 6 =

Gated Reverb Time

7 = Pre-delay

Pitch (0 - 24 => -12 to Cents (0 - 100 => -50 to

Feedback

Right Mix

Inhut

8: Reverb

Damping

Mix

Pitch Shift

Length

Pan (0 = full right, 100 =

+12)

+50)

fLll1

left)

may be loaded as 1 byte or 2 bytes of data

D-4

Appendix DRemote

Editing with

SysEx

FX-TYPE

PRAM

0 = Low Gain

1= Mid Gain

Mid Shift

3 =

High Gain

Classic EQ

FX-TYPE

$A:

T-Band

PRL4M

100 Hz Gain (0- 48 => -12 to

330

Hz Gain (0- 48 => -12 to

2 =

3 4

FXJ’KPE $I2

=3 =

kHz

Gain (0

kHz

Gain (0- 48 => -12 to

S-Band

PRAM 0 = Lo Gain (0 -

Mid Freq (mantissa)

2 = Mid

= Mid Gain (0 -

= High Gain (0 -

FX-TYPE $C=

Freq (

exponent)

TYPe

4-Band

Graphic Equalizer

+12

-48 => -12 to

+12

in .5 dB steps)

+12

in . j

+12

Mid Sweep Equalizer

SO>

may be loaded as 1

50)

Parametric Equalizer

in . j

cl13

steps)

in .5 dB steps)

clB

steps)

in .5 dB steps)

b);te

or 2 bytes of data

PRAM 0

Band 1 Frequency (mantissa) \

Band 1 Frequency (exponent:)

2 =

Band 1 l/Bandwidth

Band 1 Gain (0 - 72 => -24 to

Band 2 Frequency (mantissa) \

Band 2 Frequency (exponent)

6 = Band 2 l/Rmdwidth

Band 2 Gain (0 - 72 => -24 to

Band 3 Frequency (mantissa) \

9 =

Band 3 Frequency (exponent) A = Band 3 l/Bandwidth B

Band 3 Gain (0 - 72 => -24 to + 12 in .5

Band 4 Frequency (mantissa) \

I> = Band 4 Frequency (exponent)

E =

Band 4 l/Bandwidth

Band 4 Gain (0 - 72 => -24 to

+12

may

be loaded as 1

in .5

clB steps)

may

loadecl

in .5

clB

steps)

may

loadecl

clB

steps)

may

loaclecl

in . j

clB

steps)

byte

or 2

bytes

data

as 1

byte

or 2

hYtes

data

as 1 byte or 2 bytes of data

as 1 byte or 2

bytes

of data

Appendix

Remote Editing with SysEx

D-5

FXJ’YPE $D:

PRAM

Frequency (0 - 1

Hum

Fiilter

50 - 60

Hz)

FX-fYPE $E:

PRL4M

0 = Frequency

1 = Phase

FX-f’KPE

PRflM

0 = Drive

2 = Tune (fraction)

4 =

FX_TypE $10: Envelope Filter

PRAM 0 = Sensitivitv

1 = Frequency

= Resonance

= Mix

FX-f-‘KPE

Tune (integer) \ may be loaded as 1 byte or 2 bytes of data

Type

Balance

= Type

$11: Auto Pan

Coil Tap

$F:

Exciter

PRAM

2 = Depth

FX-TKPE $12: Speaker Simulator

PRAIVl

0 = Type

D-6

Rate (units)

Rate (tenths)

may be loaded as 1 byte or 2 bytes of data

FX-TYFE

PRAM 0 =

Lowpass

1= Tune

Depth

$13:

Stereo Simdutor

Filter (off/on>

FX-TYPE

$14: Noise Gate

PRAM 0 = Attack Time

Release

= Threslmld

= Sensitivity

Time

FX-TYPE $15: Effects Loop

PRAM 0 = Send Level

Direct Level

Return Level

FX-TPE $16

Surn111er

Splitter

PRAM 0 = Mode

Balance

2 = 3 = Hi&pass

4 = Lowpass Freq

High pass Freq

Freq (exponent)

Loa-pass

(mantissa >

(mantissa)

Frey (exponent

may be loaded as 1 byte or 2 bytes of data

may be loaded 3s 1

byte

or 2

bytes

data

FX-TYPE $17 Tube

PKAlcl

0 = Mode

1= Pregain

Pad

4 =

6 =

Postgain

Bass/Bottom gain

Middle/Body gain

Treble/Edge gain

7 = Presence/Shift

Appendix

Remote

Editing

with

SysEx

o-7

FX-TYPE $IS:

PRAM 0 = Left Speed (units)

Left Speed (tenths) 2 = Left Intensitv

3 = Right

= Right Speed (tenths)

Speed (units)

Right Intensity

Tremolo

FXJYPE

PRAWI

Ten PRAMS each refer to a character position in the name buffer.

FX_TypE $IA - $21 correspond to controllers 1 - 8. Each controller has five parameters;

PRAM

0 = Effect type

1 = Effect parameter/

= Continuous Controller Number

These Effect type / Parameter Pairs are identical to the pairs listed above. Each of the 2 byte referenced by the first PRAM of the pair. Some effects parameters do not have controllers available. An error message will appear if an unused

FXJYPE

$19:

Name Buffer Edit

may be

Channel 0 - 16 ( 16 is Omni)

Scale Factor (-100 - 100)

$22: Effect

Levels

loadecl

FXJYPE/Parameter

as 1 byte or 2 bytes of data

(l-128)

pair is sent.

they

are:

parameters

are

PRAM 0

= =

D-8

Effect1level

level level

Effect Effect Effect4level Effect5level Effect6level Effect7level Effect8level

Appendix D Remote Editing with SysEx

Specifications

Frequency Response

12Hzto20kHztl,-2dB

Total Harmonic Distortion

Less than 0.02% at 1

Signal-to-Noise Ratio

Greater than 90

Input and Output Jacks

W’

differential or single-ended

XLR balanced outs (-10

A/D Conversion

Rate: Quantization: 64x Oversampled

D/A Conversion

Rate:

Quantization:

Presets/Programs

256 presets (128 user, 128 factory)

mappable to 256 programs (optional cartridge adds 128 more presets and 128 more programs)

MIDI

MIDI In, MIDI ThruiOut

Simultaneous Effects

Up to 7 maximum (any order)

Effect

Types

Tube (Clean, Crunch, Lead, Ultra) Stereo Tremolo Compressor Chorus

Delay:

Stereo: 360 ms per channel maximum Tapped: 724 ms per channel maximum

Mono: Auto Pan Pitch Shift 1: One octave up or down maximum

Pitch Shift 2: One octave up or down maximum Reverb:

Plate Spring Tunnel

Room Stage

Hall

Gated

kHz

(1 V RMS)

dBV)

44.1

kHz

16 bit

44.1

kHz

18 bit

724 ms per channel maximum

Reverse

Exciter

Coil Tap

Enadope Prcanq~~ 5-Bmcl 3-Band Sweep

4-tkmd

Classic (guitar) Equalizer

Hum Filter

Speaker Simulation:

Dislortion

Ovcrdrivtf

Noise Gate

Stereo Sirnulatot

Stereo Effects Loop:

User Interface

20 character by 2 line

Data

Dimensions

Width: 17 ‘i

Depth: 12” Height: 1 Weight: 12 poimds

Power Supply requirements

L1.S.: 120 Expm 220/2-i-o VAC. 50/60 IIz,

Filter

Tone Control

Graphic

Parxnetric

2x12 Open 2x12

4x12 Cal3inet

4x12 British

Splitter/I3i-Amp

pusll-huttons

Knolx

VAC. 60 Hz, 25 watts

Equalize1

Mid Eydizer

Closecl

,”

‘/,”

Eqcdizer

LCD

watt5

Appendix DRemote Editing with

SysEx

D-9

THIS LIMITED WARRANTY VALID ONLY WHEN PURCHASED AND REGISTERED IN THE UNITED STATES OR CANADA. ALL EXPORTED PRODUCTS ARE SUBJECT TO WARRANTY AND SERVICES TO BE SPECIFIED AND PROVIDED BY THE AUTHORIZED DISTRIBUTOR FOR EACH COUNTRY. Ces clauses de garantie ne sont vaiables qu’aux Etats-Unis et au Canada. Dans tour par le distributeur national et assuree par

lul

seion la legislation envigueur.

les

autres pays,

les

clauses de garantie et de maintenance sont fixees

Diese Garantie ist nur in den USA and Kanada gultig. Alle Export-Produkte sind der Garantie und dem Service des lmpot-teurs des jewelligen Landes unterworfen. Esta garantia es comprados en el extranjero, estan sujetos a

valida

solamente cuando el

product0

las

garantias y servicio que cada distribuidor autorizado determine y ofrezca en

PEAvw ONE-YEAR

- - pe--3iiiimRAm/REMED~

comprado

en E.U. continentales o en Canada. Todos

LIMITED

_---.

---

10s productos 10s

diferentes paises.

que

Sean

PEAVEY ELECTRONICS CORPORATION (“PEAVEY”) warrants this product, EXCEPT for covers, footswitches, patchcords, tubes and meters, to be free from defects in material and workmanship for a period of one (1) year from date of purchase, PROVIDED, however, that this retail purchaser and

subject to the conditions, exclusions, and IimItations hereinafter set forth:

PEAVEY

90-DAY

LIMITED WARRANTY ON TUBES AND METERS

limited

warranty IS extended only to the

origrnal

If this product contains tubes or meters, Peavey warrants the tubes or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase; PROVIDED, however, that this limited warranty is extended only to the original retail purchaser and is also subject to the condrtions, exclusrons, and limitations hereinafter set forth.

CONDITIONS, EXCLUSIONS, AND LIMITATIONS OF LIMITED WARRANTIES

These

limited

warranties shall be void and of no effect, if:

The

first

purchase of the product

for the purpose of resale; or The original retail purchase is not made from an AUTHORIZED PEAVEY DEALER; or The product has been damaged by accident or unreasonable use, neglect, improper service or maintenance, or other causes not arising out of defects in material or workmanship; or

The serial number affixed to the product is altered, defaced, or removed.

In the event of a defect in material and/or workmanship covered by this limited warranty, Peavey will: a.

In the case of tubes or meters, replace the defective component without charge.

In other covered cases (i.e., cases involving anything other than covers, footswitches, patchcords, tubes or meters), repair the defect in material or workmanship or replace the product, at Peavey’s

option;

and provided, however, that, in any case, all costs of shipping, if necessary, are paid by you, the

purchaser.

THE WARRANTY REGISTRATION CARD SHOULD BE ACCURATELY COMPLETED AND MAILED TO AND RECEIVED BY PEAVEY WITHIN FOURTEEN (14)

DAYS FROM THE DATE OF YOUR PURCHASE. In order to obtain service under these warranties, you must: a.

Bring the defective item to any PEAVEY AUTHORIZED DEALER or AUTHORIZED PEAVEY SERVICE CENTER and present therewith the ORIGINAL PROOF OF PURCHASE If the DEALER or SERVICE CENTER is unable to provide the necessary warranty service you DEALER or AUTHORIZED PEAVEY SERVICE CENTER which can provide such

supplied

to you by the AUTHORIZED PEAVEY DEALER in

connectron

servrce.

with your purchase from

will

be directed to the nearest other PEAVEY AUTHORIZED

him

of this product.

Ship

the defective

Item,

prepaid, to:

PEAVEY ELECTRONICS CORPORATION

International Service Center

326 Hwy. 11 & 80 East

MERIDIAN, MS 39301 including therewith a complete, detailed description of the problem, together with a legible copy of the original PROOF OF PURCHASE and a complete return address. Upon Peavey’s receipt of these items: If the defect is remedial under these limited warranties and the other terms and conditions expressed herein have been complied with, Peavey will provide the necessary warranty service to repair or replace the product and will return it, FREIGHT COLLECT, to you, the purchaser.

Peavey’s liability to the purchaser for damages from any cause whatsoever and regardless of the form of action, including negligence,

limited to the actual damages up to the greater of $500.00 or an amount equal to the purchase price of the product that caused the damage or that is the subject of or is directly related to the cause of action. Such purchase price will be that in effect for the specific product when the cause of action arose. This limitation of liability will not apply to claims for

personal injury or damage to real property or tangible personal property allegedly caused by Peavey’s negligence. Peavey does not assume liability for personal injury or

property damage arising out of or caused by a non-Peavey alteration or attachment, nor does Peavey assume any responsbility for damage to interconnected

non-

Peavey equipment that may result from the normal functioning and maintenance of the Peavey equipment.

UNDER NO CIRCUMSTANCES WILL PEAVEY BE LIABLE FOR ANY LOST PROFITS, LOST SAVINGS, ANY INCIDENTAL DAMAGES, OR ANY CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PRODUCT, EVEN IF PEAVEY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.

THESE LIMITED WARRANTIES ARE IN LIEU OF ANY AND ALL WARRANTIES,

r-XPRESSED

OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED

WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR USE; PROVIDED, HOWEVER, THAT IF THE OTHER TERMS AND CONDITIONS

NECESSARY TO THE EXISTENCE OF THE EXPRESSED, LIMITED WARRANTIES, AS HEREINABOVE STATED, HAVE BEEN COMPLIED WITH, IMPLIED

WARRANTIES ARE NOT DISCLAIMED DURING THE APPLICABLE ONE-YEAR OR NINETY-DAY PERIOD FROM DATE OF PURCHASE OF THIS PRODUCT.

SOME STATES DO NOT ALLOW LIMITATION ON HOW LONG AN IMPLIED WARRANTY LASTS, OR THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. THESE LIMITED WARRANTIES GIVE YOU SPECIFIC

LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH MAY VARY FROM STATE TO STATE.

THESE LIMITED WARRANTIES ARE THE ONLY EXPRESSED WARRANTIES ON THIS PRODUCT, AND NO OTHER STATEMENT, REPRESENTATION,

WARRANTY, OR AGREEMENT BY ANY PERSON SHALL BE VALID OR BINDING UPON PEAVEY.

In the event of any modification or disclaimer of expressed or implied warranties, or any limitation of remedies, contained

herern

conflicts with applicable law, then

such modification, disclaimer or limitation, as the case may be, shall be deemed to be modified to the extent necessary to comply with such law.

Your remedies for breach of these warranties are limited to those remedies provided herein and Peavey Electronics Corporation gives this limited warranty only

with

respect to equipment purchased in the United States of America.

INSTRUCTIONS - WARRANTY REGISTRATION CARD

Mail the completed WARRANTY REGISTRATION CARD to:

PEAVEY ELECTRONICS CORPORATION

POST OFFICE BOX 2898

MERIDIAN, MISSISSIPPI 393022898

Keep the PROOF OF PURCHASE. In the event warranty service is required during the warranty period, you will need this document. There will be no identification card issued by Peavey Electronics Corporation.

IMPORTANCE OF WARRANTY REGISTRATION CARDS AND NOTIFICATION OF CHANGES OF ADDRESSES:

Completion and mailing of WARRANTY REGISTRATION CARDS - Should notification become necessary for any condition that may require correction, the REGISTRATION CARD will help ensure that you are contacted and properly notified.

Notice of address changes - If you move from the address shown on the WARRANTY REGISTRATION CARD, you should notify Peavey of the change of address so as to facilitate your receipt of any bulletins or other forms of notification which may become necessary in connection with any condition that may require dissemination of information or correction.

You may contact Peavey directly by telephoning (601) 483-5365.

IMPORTANT SAFETY INSTRUCTIONS

01995

SAVE THESE INSTRUCTIONS!

Features and specifications subject to change without notice.

Peavey Electronics Corporation 711 A Street / Meridian, MS 39301 / U.S.A. / (601) 483-5365 I Fax 486-l 278

#80302283

Printed in U.S.A.

lo/95

Peavey Tube Fex User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual