The Peavey Classic line included some of the company’s finest amps—but they require special troubleshooting procedures.
Hello Jeff,
I recently acquired an older Peavey Classic 50 that functions well (except for its broken spring reverb), though it occasionally pops for no apparent reason. At first I thought this only occurred when the amp was on but idle, but it’s done it a few times while I was playing it. It’s never done it while on standby.
I play through five pedals (TC’s Flashback Mini and HOF Mini, and EHX’s Soul Preacher, Bad Stone, and Soul Food, in that order, and all powered by a Visual Sound 1 Spot). But the popping seems to occur whether I have the pedals on or off, though I haven’t tested every possible combination. The popping doesn’t seem to be triggered when I move around, like when you have a bad cable—it just happens randomly. I’m using the tubes that came in the amp. I believe they’re all Groove Tubes. I’m disabled and on a limited fixed income, and I live 100 miles from any reputable amp tech. Is there a simple and cheap solution to this problem?
Michael
Hello Michael,
Peavey’s Classic Series represents some of the best amps the company has produced, at least for straight-ahead rock ’n’ roll. Sorry you’re having problems with yours, but let’s see if we can make it better by following some routine troubleshooting steps. These are all pretty generic and can be applied to most guitar rigs. (I know you’re on a fixed income, but the second half of this troubleshooting exercise requires you to obtain two substitute tubes, as I’ll explain later. But first, let’s see how the first half of the procedure goes.)
You mention that you have five pedals in your setup, and that the popping occurs whether the pedals are on or off. The problem here is that if the pedals are not wired for true bypass, just because they’re off doesn’t mean they’re out of the signal path. Many pedals have a buffer circuit that the guitar signal runs through even when the effect is disengaged. One by one, remove each pedal from the signal chain and see if this alleviates the problem. If you find the culprit, great. If not, we need to try them without the AC adaptor. This is easy on the EHX units, which can be battery powered. Remove the TC units from the signal chain for now, as they don’t accept batteries. Load up the EHX units with 9V batteries (the inexpensive “heavy duty” ones work fine for this test) and see if the problem is resolved. If so, great—now we know it’s the power supply. If not, we need to move on to the amplifier.
First, make sure the reverb control is set to minimum. You mentioned that the internal reverb doesn’t work, but there’s a chance the reverb recovery circuit could be making noise, especially if its input stage is unloaded due to an open transducer in the reverb tank output.
Now we’ll rule out each tube as the noise source. On most amplifiers I’d simply have you remove one tube at a time. But for this particular amp, you need to acquire one known good 12AX7 and one EL84. That’s because Peavey wired some of the tube filaments in series in these amplifiers, so removing one tube can prevent the filament in another from lighting. (Kind of like an old-fashioned string of Christmas lights—one goes, and they all go.) To see if a particular tube is causing the noise, you need to remove it and replace it with a known good one.
One more point regarding safety: On most amps it’s okay to perform tube substitutions with the amp on standby, but on these particular amps you should turn both the standby and power switches off prior to swapping tubes. That’s because there’s always high voltage applied to the output tubes’ plates, even when the amp is on standby. (Yet another anomaly from the guys at Peavey.)
Start with the preamp tube closest to the input jack, removing it and replacing it with the known good substitute. If the amp no longer pops, you’ve found the cause. If not, replace the original and move to the next tube down the line until you’ve gone through all three preamp tubes. If you’ve had no success, move on to the output tubes. Remove them one at a time, substituting the known good EL84. Hopefully one of these will be the cause of the noise.
If these steps don’t expose the cause of the noise, I’m afraid I’ve exhausted ideas for repairing it yourself without a tech’s help. But hopefully that won’t be the case, and we’ll have removed the cacophony from your Classic.
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Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.