1. Peavey Amp Serial Number Lookup
2. Is The Peavey 6505 The Same As 5150
3. Peavey 5150 Serial Number Lookup Model
4. Peavey Guitar Serial Number Lookup

Great deals on Peavey 5150. It's a great time to upgrade your home music studio gear with the largest selection at eBay.com. Fast & Free shipping on many items! The Peavey 5150 is an all-tube guitar amplifier made by Peavey Electronics from 1992 on, initially as a signature model for Eddie Van Halen.Since Van Halen and Peavey parted ways in 2004, the name of the model was changed to Peavey 6505, with Van Halen taking the 5150 name for his company, EVH, to name his 5150 III amplifier. Peavey t 40 serial.

Hi I got some questions about the Peavey 5150 II and 6505 Head. I have 2 people locally, one is selling for $700 firm a Peavey 5150 II Head & Footswitch, said no issues with the head and hasnt been biased to their knowledge, they're not the original owner, but they've done nothing to it and had it going on two years no issues tubes are good. Then I have another person for $750 thats got a Peavey 6505 head in excellent condition, not a scratch on it and they recently retubed it with a matched quad of TAD 6L6GC-STR power tubes: and it comes with a footswitch that was never removed from the original packaging, never used.

They were saying the 6505 / 5150 is a fixed-bias amp and the tubes are a matched quad that were tested and matched specifically the sound good with the plate voltages of the 6505. The preamp tubes are new too, they selected a mix of Tung Sol, Shanghai, and Sovtek for excellent tone and stability and they said the clean headroom seems to have improved and the tone is sweeter at high volume.

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They said the clean tones are definitely usable.I'm getting ready to get one, just don't know if I should get the 5150 II or the 6505, our band plays modern metal and we do have some clean parts to our songs but I'd also be using the Peavey for other styles as well. Is the 6505 a better deal versus the 5150 II?

I'd be using it with my Marshall 1960A with x pattern of celestion g12t75's and wgs retro 30's. Owned both extensively, gigged both extensively. At one time i owned both at the same time for little over a year.as far as playability the 5150 II is tighter than the 6505.

The clean and crunch are a whole different ballgame on the II compared to the I. The crunch on the 6505 is more gain than most high gain marshalls, and the lead channel is what they are known for.Ill break this down into a synopsis of each:6505:- Tones change drastically between re-tubes, as the original owner saw - you really have to be picky about what and where, which tubes go and also why they go there. The 6505 bases its lead tone, crunch tone, and clean tone - all around the same design, so naturally a retube can change your tone from great to soso, or soso to great.- i once saw a 5150 and a marshall cabinet fall over being transported together onto solid concrete.

Guy pickup up the dented chassis, connected it anyway - and it fired right up no problem. Build quality on the earlier models is much better than what it is now that Hartley Peavey sold the company - he did so a good while back when his wife died.- as far as cleans are concerned with the 6505, you either know how to work the volume knob on your guitar to get it clean, or you dont. If you're one of those players that has no clue how to use the volume knob and pickup arrangement to get the most out of your tone, then the 6505 series is not a good amplifier to recommend in this department.

They can do clean, but not without playing with preamp tube layout, volume knob resistance value, pickups being used, etc.- need to have the amplifier biased out of crossover distortion for all types of tubes and to allow for tube drift biasing. They do not have this ability from the factory but it will wake up the resonance and presence knobs like night and day - huge difference when playing in a band setting.5150 IIdedicated resonance and presence controls for each channel both clean/crunch and lead. The lead channel and clean channel do not share an EQ anymore - so you have even more control on getting awsome cleans out of it. Combined with a dedicated tube for the clean/crunch channel you can further tune the amp to your tastes.it has bias capability, but not enough swing to do any good. Still will need modification to provide best operation over time.still dependent on preamp tube layout for the gain pattern, but not nearly as much as the 6505 to the point of cursing your amp every time it is time for a retube.if anything the original 5150 II will be made with better components. I had an original block letter 5150 where the serial number dated all the way back to march of 1992 - 6 months after 5150's were released to the public. It had all orange drops from the factory.

Definitely wont find that build quality in the newer models at all - guaranteed. FJA and myself stand differently on this point because i recall him mentioning he has not seen the same differences, but i have ran across two that i know of that have had this quality difference.either one accepts pedals well. The II sounds more like a SLO to me, whereas the I has its own thing going on.Tone for Tone each sound god like when you start cranking on the volume. I play my 5150 II at 3.5-4 on the volume and that is the sweet spot. When i had my 5150 it sounded great at 6.5. Really moving some air at this point, but 5150's are not bedroom amplifiers at allI am sure this will answer most if not all of your questions.

Both are great in their own right, but i sold my block letter and kept my 5150 II - versatility and tonal stability mattered more to me. I once saw a 5150 and a marshall cabinet fall over being transported together onto solid concrete. Guy pickup up the dented chassis, connected it anyway - and it fired right up no problem. Build quality on the earlier models is much better than what it is now that Hartley Peavey sold the company - he did so a good while back when his wife died.Wow, thank you for the information!! I didn't know Hartley sold the company??!! So as far as versatility and reliability sounds like the 5150 II is the way to go, I've been using my Mesa Tremoverb custom head (it was originally a combo) with the stock mesa rectifier tubes, JJ 6L6GC's and a mix of mesa labeled preamp tubes, groove tubes and I forget what else at shows and practices but everytime I hear my buddy's band, he uses a 6505+ head with his marshall 1960 bottom cab I love the sound!! Now he bought his 6505+ brand new from guitar center and he hasn't had any problems with his and he's just running the factory tubes.

The Mesa is one of a kind cause my brother-in-law converted it to a head and built the custom oversized headshell so that's why I was looking at the peavey 5150 II/6505 series for a gigging amp cause our band has started doing shows more frequentely. Owned both extensively, gigged both extensively. At one time i owned both at the same time for little over a year.as far as playability the 5150 II is tighter than the 6505. The clean and crunch are a whole different ballgame on the II compared to the I. The crunch on the 6505 is more gain than most high gain marshalls, and the lead channel is what they are known for.Ill break this down into a synopsis of each:6505:- Tones change drastically between re-tubes, as the original owner saw - you really have to be picky about what and where, which tubes go and also why they go there. The 6505 bases its lead tone, crunch tone, and clean tone - all around the same design, so naturally a retube can change your tone from great to soso, or soso to great.- i once saw a 5150 and a marshall cabinet fall over being transported together onto solid concrete.

Guy pickup up the dented chassis, connected it anyway - and it fired right up no problem. Build quality on the earlier models is much better than what it is now that Hartley Peavey sold the company - he did so a good while back when his wife died.- as far as cleans are concerned with the 6505, you either know how to work the volume knob on your guitar to get it clean, or you dont. If you're one of those players that has no clue how to use the volume knob and pickup arrangement to get the most out of your tone, then the 6505 series is not a good amplifier to recommend in this department. They can do clean, but not without playing with preamp tube layout, volume knob resistance value, pickups being used, etc.- need to have the amplifier biased out of crossover distortion for all types of tubes and to allow for tube drift biasing.

They do not have this ability from the factory but it will wake up the resonance and presence knobs like night and day - huge difference when playing in a band setting.5150 IIdedicated resonance and presence controls for each channel both clean/crunch and lead. The lead channel and clean channel do not share an EQ anymore - so you have even more control on getting awsome cleans out of it. Combined with a dedicated tube for the clean/crunch channel you can further tune the amp to your tastes.it has bias capability, but not enough swing to do any good. Still will need modification to provide best operation over time.still dependent on preamp tube layout for the gain pattern, but not nearly as much as the 6505 to the point of cursing your amp every time it is time for a retube.if anything the original 5150 II will be made with better components.

I had an original block letter 5150 where the serial number dated all the way back to march of 1992 - 6 months after 5150's were released to the public. It had all orange drops from the factory. Definitely wont find that build quality in the newer models at all - guaranteed. FJA and myself stand differently on this point because i recall him mentioning he has not seen the same differences, but i have ran across two that i know of that have had this quality difference.either one accepts pedals well.

The II sounds more like a SLO to me, whereas the I has its own thing going on.Tone for Tone each sound god like when you start cranking on the volume. I play my 5150 II at 3.5-4 on the volume and that is the sweet spot. When i had my 5150 it sounded great at 6.5. Really moving some air at this point, but 5150's are not bedroom amplifiers at allI am sure this will answer most if not all of your questions. Both are great in their own right, but i sold my block letter and kept my 5150 II - versatility and tonal stability mattered more to me.Sorry chief, Hartley didn't sell the company. Peavey never used orange drop caps, they've always used Illinios brand caps. They did used to be orange in color, but they weren't orange drops.

Peavey Amp Serial Number Lookup

Only the color changed. From what I see every part supplier is the same except for the output transformer, but it's still the same specs. I've talked to James Brown about earlier block logo amps being different and it's all bullshit. The build quality on the new amps is just as good as the originals. I do prefer the older amp a little to work on because the traces were a touch thicker.I would play both amps and see what sounds best.

The 6505 has a usable clean. I would prefer the amp with the new tubes over the amp with old tubes all else being equal if I could work with the 6505 cleans.Jerry. Owned both extensively, gigged both extensively. At one time i owned both at the same time for little over a year.as far as playability the 5150 II is tighter than the 6505. The clean and crunch are a whole different ballgame on the II compared to the I. The crunch on the 6505 is more gain than most high gain marshalls, and the lead channel is what they are known for.Ill break this down into a synopsis of each:6505:- Tones change drastically between re-tubes, as the original owner saw - you really have to be picky about what and where, which tubes go and also why they go there.

The 6505 bases its lead tone, crunch tone, and clean tone - all around the same design, so naturally a retube can change your tone from great to soso, or soso to great.- i once saw a 5150 and a marshall cabinet fall over being transported together onto solid concrete. Guy pickup up the dented chassis, connected it anyway - and it fired right up no problem. Build quality on the earlier models is much better than what it is now that Hartley Peavey sold the company - he did so a good while back when his wife died.- as far as cleans are concerned with the 6505, you either know how to work the volume knob on your guitar to get it clean, or you dont. If you're one of those players that has no clue how to use the volume knob and pickup arrangement to get the most out of your tone, then the 6505 series is not a good amplifier to recommend in this department. They can do clean, but not without playing with preamp tube layout, volume knob resistance value, pickups being used, etc.- need to have the amplifier biased out of crossover distortion for all types of tubes and to allow for tube drift biasing.

They do not have this ability from the factory but it will wake up the resonance and presence knobs like night and day - huge difference when playing in a band setting.5150 IIdedicated resonance and presence controls for each channel both clean/crunch and lead. The lead channel and clean channel do not share an EQ anymore - so you have even more control on getting awsome cleans out of it. Combined with a dedicated tube for the clean/crunch channel you can further tune the amp to your tastes.it has bias capability, but not enough swing to do any good. Still will need modification to provide best operation over time.still dependent on preamp tube layout for the gain pattern, but not nearly as much as the 6505 to the point of cursing your amp every time it is time for a retube.if anything the original 5150 II will be made with better components. I had an original block letter 5150 where the serial number dated all the way back to march of 1992 - 6 months after 5150's were released to the public. It had all orange drops from the factory.

Definitely wont find that build quality in the newer models at all - guaranteed. FJA and myself stand differently on this point because i recall him mentioning he has not seen the same differences, but i have ran across two that i know of that have had this quality difference.either one accepts pedals well. The II sounds more like a SLO to me, whereas the I has its own thing going on.Tone for Tone each sound god like when you start cranking on the volume. I play my 5150 II at 3.5-4 on the volume and that is the sweet spot. When i had my 5150 it sounded great at 6.5.

Really moving some air at this point, but 5150's are not bedroom amplifiers at allI am sure this will answer most if not all of your questions. Both are great in their own right, but i sold my block letter and kept my 5150 II - versatility and tonal stability mattered more to me.Sorry chief, Hartley didn't sell the company. Peavey never used orange drop caps, they've always used Illinios brand caps. They did used to be orange in color, but they weren't orange drops. Only the color changed.

From what I see every part supplier is the same except for the output transformer, but it's still the same specs. I've talked to James Brown about earlier block logo amps being different and it's all bullshit.

The build quality on the new amps is just as good as the originals. I do prefer the older amp a little to work on because the traces were a touch thicker.I would play both amps and see what sounds best. The 6505 has a usable clean.

I would prefer the amp with the new tubes over the amp with old tubes all else being equal if I could work with the 6505 cleans.JerryHey Jerry thanks for chiming in here I talked to you via e-mail some time back about having you mod my Marshall artist 3203 head but I think you said you don't do mods on them anymore? I still have the Artist and the matching 1965A 4x10 cab, I have it up for sale locally right now but I don't know if I should hang on to it or not? I seen on EBay there's someone selling a FJA MODIFIED MARSHALL JCM2000 DSL 50 WATT head but he doesn't say what mods were done to it and the starting bid is $799? How are those for modern metal in Drop B and are they pretty versatile with good cleans and do they cut thru well with another guitar player, in the mix, etc?

Do you have any modded amps for sale right now I've really dug your clips of the FJA Modded Marshall DSL50 Head!! Sorry chief, Hartley didn't sell the company. Peavey never used orange drop caps, they've always used Illinios brand caps.

They did used to be orange in color, but they weren't orange drops. Only the color changed. From what I see every part supplier is the same except for the output transformer, but it's still the same specs. I've talked to James Brown about earlier block logo amps being different and it's all bullshit. The build quality on the new amps is just as good as the originals. I do prefer the older amp a little to work on because the traces were a touch thicker.JerryThe build quality on the newer amps are not as good as the older models. I am not disconcerning block logo versus first runs, i am talking earlier than that.

As far as the newer amplifiers I've had many with cold solder joints, electro's in backwards on the cathodes, list goes on and on. Since James designed the circuit and was over all production during the early time period it is safe to say something is not right. I know orange drop date codes when i see them. We could go on and on here, but what is the use?As far as Hartley not selling the company i read this in the news a few years back. Shocked that i am just now being corrected, but you are right.

Sorry chief, Hartley didn't sell the company. Peavey never used orange drop caps, they've always used Illinios brand caps. They did used to be orange in color, but they weren't orange drops. Only the color changed. From what I see every part supplier is the same except for the output transformer, but it's still the same specs. I've talked to James Brown about earlier block logo amps being different and it's all bullshit. The build quality on the new amps is just as good as the originals.

I do prefer the older amp a little to work on because the traces were a touch thicker.JerryThe build quality on the newer amps are not as good as the older models. I am not disconcerning block logo versus first runs, i am talking earlier than that. As far as the newer amplifiers I've had many with cold solder joints, electro's in backwards on the cathodes, list goes on and on. Since James designed the circuit and was over all production during the early time period it is safe to say something is not right. I know orange drop date codes when i see them. We could go on and on here, but what is the use?As far as Hartley not selling the company i read this in the news a few years back. Shocked that i am just now being corrected, but you are rightCathode caps are non polar so they can go in either way.

A solder connection has nothing to do with lesser quality components. The components on the board are the same stuff as day one. Show me an orange drop in a 5150, real easy to prove me wrong. Good luck with that. An orange colored cap made by Illinios capacitors is not an orange drop. I have pictures of hundreds of 5150's of every era.

When you know what your talking about beyond some shit you read online or in a book let me know.Jerry. Cathode caps are non polar so they can go in either way. A solder connection has nothing to do with lesser quality components. The components on the board are the same stuff as day one.

Show me an orange drop in a 5150, real easy to prove me wrong. Good luck with that. An orange colored cap made by Illinios capacitors is not an orange drop. I have pictures of hundreds of 5150's of every era. When you know what your talking about beyond some shit you read online or in a book let me know.JerryDont give me the 101 tech over a gear forum Jerry, i have meant no disrespect to you and i expect the same in return. We both know polarity is not a matter of concern for cathode caps but that still does not mean it is correct to polarize a + electro to reference ground.

Get over yourself. Cold solder joints on a production made amplifier is a considerable problem when its intermittent. I'd say thats quite a QC issue on a 300+ part build. As far as proving you wrong? I said in my very first post we disagree.

How many times do we have to go down this path?I admit incorrectness on Hartley Peavey because i was wrong. Go take a vacation and relax, you're not changing my mind and i have no reason to change yours. Just an FYI to the OP.i recently bought an all stock 5150 (not block letter though) from my buddy for 400$.that was a pretty damned good price, and he needed to move it quick.play one first. Yes, there are some simple mods you can do or get done that will help with the overally amp tone and fine tune it pretty well, or you could send it to Jerry and have your monster woken up. Either way, i'd say, first off, if you get one, play it stock for a while, and get to know it. Figure out what tubes you like, and go from there.dont go into the tube thing blindly.i can't offer much on the technical side, but there are a few tricks you can do with this amp beyond what most people write them off for as a one trick pony. Just an FYI to the OP.i recently bought an all stock 5150 (not block letter though) from my buddy for 400$.that was a pretty damned good price, and he needed to move it quick.play one first.

Yes, there are some simple mods you can do or get done that will help with the overally amp tone and fine tune it pretty well, or you could send it to Jerry and have your monster woken up. Either way, i'd say, first off, if you get one, play it stock for a while, and get to know it. Yeah man, they'r great amps.if you wait, you can score a decent deal.i dont like JJ tubes really at all, though i do use one of the short plate ones in my egnater tourmaster (for a certain reason), and especially i dont like them for what i want out of a preamp tube in the 5150.short version: i think chinese 12ax7b sound better in the 5150, but, ymmv. Worth a try, since you can get them dirt cheap around here and on ebay.i'm SOOOO glad i'm done chasing the tube dragon, literally, i've tried hundreds of different tubes and 12xxx types in my amps.and always keep coming back to the same 3. So i pretty much have settled on what my ear likes and stick with that.

Yeah those prices may be a little high. I just sold my near mint 5150 block logo for $525 on CL. I have seen 5150 IIs go for as high as $700 though. Personally, I would be willing to pay a little more for a 5150 or a 5150 II over the 6505 series just from a collect-ability/cool factor perspective. As for the quality/reliability of either series; it's a Peavey for crying out loud!

Their built like tanks Chances are if you test it out thoroughly and it's in good condition, you won't have too much trouble with it. Yeah those prices may be a little high.

I just sold my near mint 5150 block logo for $525 on CL. I have seen 5150 IIs go for as high as $700 though. Personally, I would be willing to pay a little more for a 5150 or a 5150 II over the 6505 series just from a collect-ability/cool factor perspective.

As for the quality/reliability of either series; it's a Peavey for crying out loud! Their built like tanks Chances are if you test it out thoroughly and it's in good condition, you won't have too much trouble with it.Yea the guy with the 5150 II & Footswitch for $700 firm said no issues with the head and hasnt been biased to their knowledge, they're not the original owner, but they've done nothing to it and had it going on two years no issues tubes are good. He didn't say what tubes were in it, I have a Marshall artist 3203 head I was gonna trade him + $300 but because there is an issue with the Master Volume control he didn't want to do the deal with the Marshall.

Cathode caps are non polar so they can go in either way. A solder connection has nothing to do with lesser quality components. The components on the board are the same stuff as day one. Show me an orange drop in a 5150, real easy to prove me wrong.

Good luck with that. An orange colored cap made by Illinios capacitors is not an orange drop. I have pictures of hundreds of 5150's of every era.

When you know what your talking about beyond some shit you read online or in a book let me know.JerryDont give me the 101 tech over a gear forum Jerry, i have meant no disrespect to you and i expect the same in return. We both know polarity is not a matter of concern for cathode caps but that still does not mean it is correct to polarize a + electro to reference ground. Get over yourself. Cold solder joints on a production made amplifier is a considerable problem when its intermittent. I'd say thats quite a QC issue on a 300+ part build. As far as proving you wrong?

I said in my very first post we disagree. How many times do we have to go down this path?I admit incorrectness on Hartley Peavey because i was wrong. Go take a vacation and relax, you're not changing my mind and i have no reason to change yours. Get over it.I don't care about changing your mind, just trying to help the poor bastards you lead in the wrong direction eveytime you post some technical novel trying to help someone and you give them incorrect information.Jerry. Hey Jerry thanks for chiming in here I talked to you via e-mail some time back about having you mod my Marshall artist 3203 head but I think you said you don't do mods on them anymore? I still have the Artist and the matching 1965A 4x10 cab, I have it up for sale locally right now but I don't know if I should hang on to it or not?

I seen on EBay there's someone selling a FJA MODIFIED MARSHALL JCM2000 DSL 50 WATT head but he doesn't say what mods were done to it and the starting bid is $799? How are those for modern metal in Drop B and are they pretty versatile with good cleans and do they cut thru well with another guitar player, in the mix, etc? Do you have any modded amps for sale right now I've really dug your clips of the FJA Modded Marshall DSL50 Head!!The DSL can work great for metal. I'd have to have the serial number to know how that amp was modded. I do them all a little different depending on wha tthe owner needs.Jerry.

Hey Jerry thanks for chiming in here I talked to you via e-mail some time back about having you mod my Marshall artist 3203 head but I think you said you don't do mods on them anymore? I still have the Artist and the matching 1965A 4x10 cab, I have it up for sale locally right now but I don't know if I should hang on to it or not? I seen on EBay there's someone selling a FJA MODIFIED MARSHALL JCM2000 DSL 50 WATT head but he doesn't say what mods were done to it and the starting bid is $799? How are those for modern metal in Drop B and are they pretty versatile with good cleans and do they cut thru well with another guitar player, in the mix, etc? Do you have any modded amps for sale right now I've really dug your clips of the FJA Modded Marshall DSL50 Head!!The DSL can work great for metal. I'd have to have the serial number to know how that amp was modded. I do them all a little different depending on wha tthe owner needs.JerryEven though it's a 50 watt head do you think it would be loud enough to compete with my other guitarist, he's running a boss gt6 processor to a b52 at100 tube head.

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Contents.History founded Peavey Electronics in 1965, having built his first in 1957. Peavey Electronics is privately owned. It was started in Hartley's basement in the 1950s.In 2011, Inc. Magazine profiled the global success story of music and audio innovator Hartley Peavey and Peavey Electronics Corporation. 'Hartley Peavey dreamed of becoming a rock star,' wrote Inc.

's Kasey Wehrum. 'Though he lacked the chops to become the next Chuck Berry, his name has been etched into the pantheon of rock 'n' roll history.'

Company information. Peavey Headquarters inPeavey currently owns 1.5 million square feet (140,000 m 2) of manufacturing/assembly area over 33 facilities across, and, 18 of which are located in. Products are manufactured mainly in and the, and are distributed to 136 different countries. They hold 130 patents, and have a product range of around 2000 designs, with between 80 and 100 added each year.In 2014, Peavey closed its UK distribution and manufacturing operations, citing that while the UK facility was originally a manufacturing plant, the lower cost and advanced techniques of Chinese manufacturing deemed it unsustainable.Peavey Electronics owns eight electronics brands:, and.Products.

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( April 2017)Although Peavey Electronics produces a wide variety of equipment, a few designs stand out through their popularity or use by prominent professionals.5150, 6505, 6534+ series guitar amplifiers These amplifiers (collectively the 5150 series) and speaker cabinets were the result of a collaboration with. The 5150 series was preceded by the VTM-60/VTM-120 amps, among the first 'non-hotrodded' amps. The 5150 has gained popularity with modern, and bands and guitarists due to its large amount of distortion.

Of uses this amplifier. While touring with, Cantrell asked Eddie Van Halen, 'if I could buy one off him at the end of the tour with them, and when I got home there were three full stacks and two guitars waiting for me.' In 2004, Peavey and Eddie Van Halen parted ways, with Eddie taking the 5150 brand name with him.

This resulted in the renaming of the amplifier as the 'Peavey 6505', with slightly updated styling but original circuitry. The 5150 II, which contains an extra preamp tube for more headroom and gain on the Rhythm channel, is the old equivalent to the new 6505+. In 2010, Peavey released a new amplifier for the 6505 line, the 6534+. It is much like the 6505+, but the 6534 has EL34 power tubes instead of the 6L6 power tubes on the standard 6505 amplifiers. Bandit series guitar amplifiers The Bandit amp series are combo.

The Bandit amplifiers were introduced in 1980 and remain in production today (2013).The earliest model Bandits had a power rating of 50 watts RMS into an 8 speaker. The power rating has gradually increased over time, and are rated at 80 watts RMS into 8 ohms, and 100 watts RMS into 4 ohms. In the mid-1990s, the Bandit was used to introduce Peavey's proprietary TransTube circuitry, a solid-state technology aimed at emulating the sound of. Bandit models. Bandit (1980). Solo Series Bandit (1981–1983).

Solo Series Bandit 65 (1983–1986). Solo Series Bandit 75 (1987–1988). Solo Series Bandit 112 (1988–1995). TransTube Series Bandit 112 (1996–1999). TransTube Series 112, made in US (2000–2004). TransTube Series II Bandit 112, made in China (2004–2006).

Peavey Bandit with Transtube Technology Made in China (2006–present)Classic series guitar amplifiers. A Peavey Classic 30 amplifierPeavey's line of guitar amplifiers made specifically for blues, jazz, and classic rock players. The original Classic series amplifiers were introduced in the 1970s (and were originally called the Peavey 'Vintage' series which the first releases used 6C10 tubes in the pre-amp, NOT solid State. 6C10 amps have a Presence knob not a Master = Vintage Series changed to a solid state pre-amp & a Master Volume, which is the easy way to tell if the amp has 6C10 pre-amp or not without removing the back panel to access the chassis), The solid state preamps and 6L6GC power tubes.

The Original 2-12 Vintage is 100 watts, whereas the 6-10 and the 1-15 are only 50 watts The original Classic was a 50 watt amp and two 12-inch speakers and a spring reverb, with two preamps for 'clean' and 'distortion' channels. They could be used separately, or by plugging the instrument into the 'parallel' connection, which fed both preamps, allowing selection of one from the other using a foot switch.

The instrument could also be plugged into the 'series' connection, running first through the 'clean' channel and feeding that into the 'distortion' channel, providing a means of over driving the distortion preamp, creating a much more versatile method of producing distortion. The current line of Classic series amplifiers consist of three variations of the 'Classic' model, the, 212 and 410. There are two variations of the 'Delta Blues' model, the and the. They use preamp tubes, power tubes, and have tanks. From 1994 to 1997, a 15 watts amp with a 10 inches speaker was also produced: the Peavey Classic 20.CS series power amplifiers The CS series amplifiers (mainly the CS800) are some of the most used amplifiers in the world, and among Peavey's best selling products.JSX series guitar amplifiers The JSX series was designed for.

Satriani was looking for an amplifier that was customized to his style, had every feature he required, and would work in both live and studio applications. This amplifier was reissued as the Peavey XXX II when Joe Satriani's endorsement ended, since the original XXX platform was used as starting point for the design of the JSX series.Radial Pro Series of drum kits The Radial Pro Series were Peavey's high end drum line. In production from 1994 until 2002, it consisted of the RBS-1 prototypes, radial pro 1000, 750/751, and 500/501 models. The flagship 1000 model consisted of a radial bridge that took all the mounting stresses, and a 3-ply thin maple shell to enhance the resonance. The 750/751 series had composite bridges and stained 4-ply thin maple shells. The 500/501 series had composite bridges and wrapped 5-ply North American thin hickory shells.Triple XXX/3120 series guitar amplifiers The basis for the JSX series, the XXX series provides a tonal range from what some call 'glassy' cleans, to 'full body' hi-gain tones using its 3 channel interface. The 3120 series came later.

Originally, the Peavey XXX was set to become recording artist George Lynch's signature model but the deal never finalized.ValveKing series guitar amplifiers All-tube high gain amplifiers. Capable of anything from Blues to Metal.Vypyr series guitar amplifiers The Vypyr series of amps are modeling amplifiers. They generate different amplifier sounds based on digital models of various popular amplifiers.

The models include Fender twin and deluxe, Mesa/Boogie Rectifier, Diezel Boutique, Krank Krankenstein, Vox AC30—and a large collection of Peavey amps like the 6505, XXX, and JSX. In addition to these amp models, these amps feature 11 editable pre-amp effects (All But Vypyr 15), 11 editable rack effects, on-board looper (Vypyr 30, 60, 75, 100, 120), input (Vypyr 30, 60, 75, 100, 120), and USB 2.0 connectivity (Vypyr 60, 75, 100, 120). The battery powered 'Nano Vypyr' was introduced in 2012 as a competitor against other small portable modeling amps like the and Mini-Mustang. The Vypyr 60 and Vypyr 120 amps as well as the Vypyr 120 head feature. In 2013, an enhanced line of Vypyr amps was released. Called the 'Vypyr VIP' series (short for 'variable instrument input'), the VIP 1, VIP 2, and VIP 3 retain all the programmed models of the original Vypyrs, but also possess the ability to serve as acoustic guitar amps, as well as bass guitar amps.

They are also programmable by way of computer software link. TNT series bass amplifiers The TNT Series bass amplifier first entered the market in the late 1970s as a 45-watt combo with one 15-inch speaker. The high-power TNT bass amplifier series was introduced as a 150–200 watt bass combo primarily equipped with a Scorpion or Black Widow 15-inch woofer.

The TNT series was recently updated to 600 watts, under the title Peavey Tour TNT 115. It is currently the most powerful bass combo sold by Peavey.400BH Series Bass Amplifiers The 400 BH power amp module was used in a range of bass amps during the early 1980s, commencing with the MKIII Bass Head in 1979.The MKIV Bass Amp head unit, introduced in 1981, offers a range of functions.

It is air cooled, features protection circuitry, and is capable of around 300/350 watts RMS safely into 2 ohms. The 2 ohm load rating is very stable (this amp actually operates at less than 2 ohms), enabling the use of multiple mix and match speaker systems to improve acoustic efficiency and sound stage options.

In contrast, typical modern musical instrument amps are limited to 4 ohms speaker systems. Circuit board layout is conservative, easy to access, repair or modify. Dynamics and reliability are excellent. Its only weak point is that the preamp and power amp modules are installed in the chipboard cabinet with lack of electromagnetic shielding, resulting in a need to physically separate the amp head from bass pickups and speakers.Windsor series guitar amplifiers Introduced as a low-cost clone of the vaunted JCM800 2203 Master Volume. The internal design is essentially identical to the vintage Marshall, with the exception of using a plate-fed instead of the Marshall-trademarked cathode-follower-based circuitry.Wolfgang and HP2 series electric guitars.

Is The Peavey 6505 The Same As 5150

See also:These were a result of a collaboration with to produce his 'ideal' guitar. The design was relatively successful, but did not gain the reputation or popularity of similarly priced guitars such as the or the. The Peavey Wolfgang was discontinued in 2004. Peavey re-introduced the Wolfgang as the HP2 during the 2017 show.The VT series was also popular in the late 1970s to early 1980s. Gary Rossington from Skynyrd played the Mace-VT. There was the Deuce-VT the Mace's little brother, and a Classic VT. The Mace and Deuce were the same amp but the Mace had six 6l6gc output tubes and the other only 4.Hence the Mace was 160 watts and the Deuce 120 wattsControversy In February 2015, the company was featured on an episode of the CBS television show,.

Chief Operating Officer Courtland Gray made visits to a company store and manufacturing plant in disguise, with the founder communicating to him through a hidden earpiece. Before the episode aired, the creator of Undercover Boss issued an unprecedented statement indicating something 'unfortunate happened after filming'. Peavey Electronics, citing global competitive pressures, partially closed down the same plant featured in the episode. The employees at the manufacturing plant featured in the episode felt betrayed by the move. The company said these moves were necessary to remain competitive against rivals who were already manufacturing in lower-cost locations. Legal cases In 2009, Peavey Electronics Corp.

Filed two lawsuits against various companies under umbrella for patent infringement, federal and common law trademark infringement, false designation of origin, trademark dilution and.In 2011, the Music Group filed suit in the US District Court against Peavey Electronic Corp. For 'false advertising, false patent marking and unfair competition'. In making these allegations, the Music Group cites an ongoing investigation of its own initiation that has assessed Peavey products with regard to US patent laws and FCC regulations.In April 2014, Peavey Electronics Corporation was fined $225,000 by the FCC for violating the digital device laws by not notating required labeling and marketing statements in their owner manuals. References. Retrieved 11 July 2014.

Kasey Wehrum (27 September 2011). Retrieved 11 July 2014. Dungan, Ronnie (11 August 2014). Retrieved 12 March 2015. HP Newquist. Guitar International. Retrieved 13 December 2010.

Peavey Electronics. Retrieved 4 February 2010. Retrieved 11 July 2014.

18 October 2013. Retrieved 11 July 2014. In 2011 The Music Group filed a lawsuit against Peavey for alleged 'false advertising, false patent marking and unfair competition.' .

David Davies (10 May 2011). Retrieved 12 March 2015. FCC Internet Services Staff. Retrieved 12 March 2015. (TXT).

Peavey 5150 Serial Number Lookup Model

Retrieved 12 March 2015. In Compliance Magazine. Retrieved 20 February 2015.External links Wikimedia Commons has media related to.

Peavey 5150 Used

Peavey Guitar Serial Number Lookup

NAMM Oral History Program Interview (2002). NAMM Oral History Program Interview (2005).