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Custom Dual Channel (2005/2006)

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The 2005/2006 amp format was “50W” with two output tubes (EL34 was standard), “20W” with two output tubes (6V6 was standard), or “100W” with four output tubes (EL34 was standard), available only as dual channel models.

These amps measured approximately 20.5″ wide, 10″ deep, and 12″ tall.

Front panel features

Power: On/off switch.

Standby: A secondary “power” switch. First the power switch is turned on, the tubes are allowed to warm up for a minute, then the Standby switch is turned to the “play” position (up). This ensures tube elements reach proper operating temperature before use. When turning the amplifier off, turning off the Standby switch first and waiting 30 seconds before turning the Power switch off ensures no noise from the relay supply discharging and changing channels/masters as the power is removed.

Low, Mid, High controls: Channel EQ with a very wide range of friendly, useful operation.

Master: Overall volume controls for the amplifier, one for each channel.

Gain: Controls the drive level of each channel.

Boost: A voicing switch for more aggression/crunch or overall change in voicing, depending on the channel design.

Depth: Extra bass response generated by the output section of the amplifier instead of in the preamp. Allows for an extra dimension of bass response tailoring and is especially useful to help attain a “big sound” at lower to moderate volumes. Balancing this control with the use of the channels’ standard EQ can allow for more tight/focused sounds or more warm/rich sounds; turning the channel’s Bass control down and turning the Depth up provides a more rich overall sound without getting very percussive in the low frequencies. A mini toggle switch below the Depth control allows this to be used as a “damping” control (when switched to the left), changing the overall amount of output damping. Less damping (clockwise) gives a more aggressive/deeper sound while more damping (counterclockwise) gives a softer/mellower sound. Using this control as a “damping” control makes it easier to tailor the response the amp achieves with different speaker cabinets, or to compensate for different acoustic environments.

Presence: Extra treble response generated by the output section of the amplifier instead of in the preamp section. Its range starts in the range of a channels’ “High” controls and extends beyond to allow for a sharper overall sound and more treble clarity. This control, along with the “Depth” control, helps shape the overall sound and response of the amplifier to a specific cabinet and acoustic environment. The first 2/3 of the range is gradual, making its setting easy without the amp suddenly becoming bright sounding. The last 1/3 of its range is more drastic a change, for those who want a lot of brightness from the amp.

Back panel features

Effects: Individual effects loops for each channel (post master volume), meant for line-level effect devices. (Will only function properly with instrument-level devices, or with pedals at lower to moderate volumes.) Optionally, some 2005/2006 models were built with one loop assigned as a common loop to both channels and the second loop being assigned to one of the two channels only. Some were also built with a single loop assigned as a common loop to both channels, with no second loop implemented.

Footswitch: The amp’s footswitch (included) plugs into this jack. A switch beside this jack allows for manual selection of channels when a footswitch isn’t connected. Set the switch to “Channel 2” when the footswitch is connected to allow the footswitch to function. The footswitch’s LED indicates Channel 1 being the active channel–this is most useful since Channel 1 is always the “higher gain” channel of the amplifier. The footswitch is an industry standard single-button with LED type, widely available if the original becomes lost or damaged.

Speaker Outputs: Two jacks allow for parallel connection of two separate cabinets, or a single jack (either one) can be used for a single cabinet. A selector switch allows for 4, 8 or 16 ohm loads.

Full Power / Low Power: A function to allow the amplifier’s output section to be reduced in power quickly and effectively. “Low Power” is approximately 40% of the amp’s output power rating (except for the 20W format, whose low power mode reduces power to about 60%).

Modern / Vintage: This feature gives the amp’s output some “sag” normally characteristic of using a tube rectifier in a design, but without requiring a tube rectifier. “Modern” has a more forward/punchy sound/feel, while “Vintage” has a warmer more relaxed sound/feel with less “forward” sounding midrange.

Bias test points and bias pot: Using a regular volt meter and small screwdriver, the amp can be biased for replacement output tubes quickly and easily without opening the amplifier. There is a small access hole for the easy-to-adjust 15-turn bias potentiometer and to its right, three pin jacks for testing the bias setting during adjustment. The two red jacks represent each tube’s “positive” reading point and the “common” reading point in the middle is black. For instructions of biasing Peters amplifiers, read this document.

Fuses: The amp’s fuseholders are located on either side of the power inlet.

Fuse ratings for 50W models: 2.5A (mains), 300mA (HT).

Fuse ratings for 20W models: 2A (mains), 125mA (HT).

Fuse ratings for 100W model: 3A (mains), 750mA (HT).

All mains fuses are slow-acting type, all HT fuses are fast-acting type. All fuses rated for 250V.

Power inlet: For a standard detachable IEC type power cable.

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List of channel designs for 2005/2006 Peters Custom Dual Channel amps, which are discontinued. (A few amps in this format were also made with early versions of the current channel designs.)

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Clean

The Clean design has a vintage feel rich in harmonics, shimmer and chime, but also has some more modern clarity and punch. The Gain control allows for a clearer, more open sound at lower settings; as the control is increased to medium settings, the sound becomes more rich and full but retains its articulation; at higher settings it gets a broad, smooth vintage sounding distortion. The Boost switch adds more grit, gain, and upper midrange to the sound. (This design was replaced by the HALO design, which has a more careful EQ balance and more focused overdrive at higher settings.)

Classic Overdrive

Designed to achieve bold “British” classic overdrive with complex woody overtones. It covers “classic rock crunch” sounds and 80s “hard rock overdrive” sounds easily. The sweep of the Gain control is very useful and allows for lots of variety in the amp’s voicing. (Replaced by the HARRIER design in 2006, which had a somewhat rounder and more vintage sounding low frequency response.)

HARRIER

The HARRIER was primarily designed to achieve 70s and 80s rock/hard rock sounds. It has a feel which is vintage and gutsy, with a strong British heritage. Like the other designs in the Peters lineup it allows for natural overdrive sounds at lower volumes with ease. (This design was phased out upon introduction of the POLARIS.)

Lead Overdrive

This design has smooth overdrive/distortion without sacrificing vintage articulation. The midrange character has a classic response/articulation and feels very even, allowing the amp to cut through in a mix without sounding nasal. Turning up the Mid control allows for a nice “singing” lead sound. The Boost switch adds more aggression and saturation. (Phased out upon introduction of the GRYPHON design.)

Lead Overdrive 2

The Lead Overdrive 2 design takes the gain of the Lead Overdrive a step higher and adds more thickness, richness and overtones to the mix. It doesn’t clean up quite as well as the Lead Overdrive design or have as much vintage response/articulation since its overdrive is thicker/broader sounding. It’s quite versatile for lead and rhythm heavy metal sounds. (Phased out upon introduction of the GRYPHON design.)

Modern High Gain

The Modern High Gain design is more solid/focused than the Lead Overdrive design, and has lots of aggressive “snarl” and “growl”. Higher settings of the Gain control are suitable for modern heavy metal, and lower settings of the Gain control are good for hard rock. The Boost switch adds more saturation to the sound. (Phased out upon introduction of the WARHAWK design.)

WARHAWK

The WARHAWK is a high gain design intended primarily for hard rock/heavy metal music. It has a forward aggressive feel which cuts through a mix easily and has ample distortion levels, but also has an overall clarity and subtle warmth. (The introduction of the CHIMERA to the lineup saw the WARHAWK being phased out.)