The Steel Guitar Forum

Apparently the Session 500 was made with two cabinet sizes. Does one cabinet size have an advantage over the other? If you are not looking at them side by side, how can you tell the difference.

Also are these considered good amps for PSG?


Thanks

Steve

These amps were built to be used with a steel guitar. I have one I bought new in 1981 and it still looks and sounds as good as when I lugged it out of the store. BTW, mine is a large cabinet, someone posted a while back that there were only a few small cabinet models made.

------------------
Darvin Willhoite
Riva Ridge Recording

I had a small cabinet for a few years. I finally sold it when the Session 400 Limited came out. I was told there were only 25 of the short ones made. I don't think there was much sound difference in the two sizes. To change the speaker in the short cabinet one, you had to remove the screws from the top and partially remove the chassis, just to get the speaker out. On the tall ones you could just remove the speaker. I'm assuming that was the reason behind making them taller. They were heavy, but good amps.

------------------
My best,
Ernie

The Official Buddy Emmons Website
www.buddyemmons.com

Steve,
I have a "small" cabnet model. It has casters on it and beside a "big" cabnet model without casters it's the same size. So not much diff. in size I think both sizes sound great.
Justin

------------------
Justin Griffith
SD-10 Blanton Quadraverb GT Session 500

The original Session 500 was a short cabinet that had an "L" shaped chassis that included the pre amp boards and the power amp boards, but it was difficult to manufacture. Because of this, we changed over to the "bucket" shaped chassis with the separate power module so that the 500's could be manufactured more efficiently. This is the only model with this design.

However, when we did changeover to the separate power amp and preamp, more room was required, so the cabinet height was extended.

Hi Steve---The Session 500 is a GREAT amp for steel guitar. It has the power and tone capabilities that make it one of the greatest amps for steel that has ever come along. The only negative I know of about this amp is it's weight---it is HEAVY! Other than the weight, you can't go wrong. IMHO

With all the badmouthing I do about "the sound" It can't be beat.

Over the newer Nashvilles they have Bi-amping adjustable crossover capability, a phase effect close to the MXR Phase 150, a volume pedal loop that people tell me works, as well as a "fuzz tone" that only works in conjunction with the volume pedal loop. Also a 1/4" preamp line out, a Low Z line out, and a couple other little doo dads.

The Nashville, I use a little Radio Shack adapter with, and it plugs in to a board just fine.

When I Bi-Amp it with the Nashville. I find the setup hard to beat.

Mine's lasted 22 years. Speaker has a road fix from a chair leg that's worked from day 1. Used to pop capacitors for some reason. I decided it might be current carrying ground circuits I was pluggin into. Rem'd the ground prong and haven't had a problem since.

They're heavy. I think the BW speaker magnet is bigger then the newer Nashvilles, but I'd have to check.

It was the first one shipped to PORTLAND OREGON in 1980, and I think I got stuck 700$ for it. It's paid for itself a couple hundred
times over.

I only use it to twin-amp nowadays.

I'm getting old..

Can't beat 'em.

------------------
EJL63FLH
'78 Pro III Sho-Bud
'63FLH 90"Stroker
'80 Gold Wing
-Peavey: When it's *not* about "The Sound"-
"You can Smart Yourself Dumb.
Why Can't you Dumb yourself Smart?"-Me
"There are only so many ways to fry cat food."- Buster
"At my age, sometimes I run out of Adrenaline, but I've still got plenty of Gall.." -Me-

Thanks for all the feed back. This forum is truly a great resource.

Thanks again.

Steve

Eric, I recommend that you try out the pre eq PEDAL PATCH. Here's an article that I wrote about this; THE PRE EQ PATCH
“WHY IS IT CALLED A VOLUME PEDAL PATCH?”
By Mike Brown

Since Peavey Electronics first introduced the Session500 steel guitar and fiddle amplifier back in 1980, we have been the only company to offer an interesting solution to the problems that are encountered when using potentiometer based pedals for controlling the volume of the amp. Although our “volume pedal” or “pre eq patch” point has been a standard feature on every steel amp since the Session500, players may not be aware of this unique method of “inserting” their volume pedal into the circuit on the various models that have been introduced since that time. On the Session500, this insert point was labeled “PEDAL-IN & OUT”. On the Vegas 400 and the Nashville 400, it was labeled “PRE EQ PATCH-IN & OUT”. On the Session400 Limited, this insert point is labeled “PRE EQ PATCH-SEND & RETURN”. On our latest models, the Session2000 and Nashville1000, this insert point is labeled “PRE EQ PATCH-SEND & RETURN”. Although they are all labeled with different names, the purpose and results are the same.

A typical volume pedal patch is made between the guitar and the amplifier input. However, doing so could cause the tone of the guitar to change as the pedal is moved up and down with changing volume requirements, because this patch introduces a varying resistance as seen by the guitar pickups. The Peavey pedal patch allows the user to insert a volume pedal into the active pre-amp circuit, thus increasing the performance of the volume pedal. Because the volume pedal is patched in after the first pre-amp stage, no signal degradation occurs regardless of the pedal volume setting. The volume pedal changes only the volume without affecting the tone or character of the guitar voice.

This is how the circuit works. When an instrument signal is routed through either the high gain or low gain inputs (10db gain difference between the two types), it is routed through a first order high-pass filter that blocks DC into and out of the first operational amplifier (IC chip) for protection. A 20 hertz low pass filter is in place to provide better signal to noise ratio of the circuit. In this first stage of the circuit, we have designed in various electronic component circuits to reduce noise so that it won’t be amplified through the remaining signal path. When the audio signal hits the pre gain control potentiometer, the level of the signal that is to be routed through the remainder of the circuit is dependent upon the setting of this control. At this point in the circuit, the signal is routed out of the OUT jack via shielded cable, through the volume pedal and back into the circuit through the IN jack using a second shielded cable. NOTE; When the volume pot is in the fully up position (no sound), the wiper of the pot is sent to ground. When the volume pot is in the fully down position (sound), the signal is then audible through the circuit). The pedal volume pot acts in the same fashion as the PRE GAIN control on the amplifier. The IN jack is of the “normaling” type, which remains closed until a ¼” plug is inserted for the returned signal. At this point in the circuit, additional noise filtering is applied and a 1.56Mhz. low pass noise filter is employed to shield radio frequencies from entering the circuit. In addition, a high pass filter blocks frequencies below 10 hertz.

At this point in the circuit, a second first order high-pass filter blocks DC current into the second gain stage before signal is routed through the remainder of the preamplifier.


This “pedal patch” is exclusive to Peavey steel guitar amplifiers and it works! If you have any questions, please contact me toll free in the U.S. at 1-877-732-8391 or by e-mail at mikebrown@peavey.com

The string effect("fuzz tone") works independantly of the pedal patch.

If you have any questions, I'll be glad to assist you with your Peavey products.

Mike Brown
Peavey Electronics Corporation

Mike,
The tone IS quite different when you hook the pedal up properly. I just learned something! Thanks Mike for all you do.
Justin

Moved to 'Electronics' section of the Forum.