PEAVEY® 6534®Plus 120w HEAD ★ BRAND NEW ★ | FREE FREIGHT | 3YR WARRANTY | LIMITLESS LAYBY | PAYPAL | NO INTEREST EVER Finance Available
PEAVEY® 6534®Plus 2-Channel - 120watt 240volt Guitar Amplifier Head. FREE FREIGHT | 3 YEAR NEW Factory WARRANTY | LIMITLESS LAYBY | PAYPAL & MORE PAYMENT OPTIONS | NO INTEREST EVER Finance available. Designed with EL34 power tubes to give this American legend a British flavour. The extreme high gain and legendary tone of the 6505® Series is here in excess.
THE PEAVEY® 6534®Plus - AMP HEAD
American legend & British flavour.
The next evolution of Peavey’s 6505®Plus guitar amplifier, the 6534®Plus, is a 120-watt tube head with a touch of vintage British tone. The 6534®Plus uses six 12AX7 preamp tubes and four EL34 power amp tubes and independent 3-band EQs for both the lead and rhythm channels, and a special new design minimizes any noise the tubes might generate. Add to that a footswitchable crunch boost control and a bright switch, and yo get an extreme high-gain modern American guitar amplifier with some serious teeth.
The Peavey® 6534®Plus is a really interesting amplifier as it shows off just how much of a difference tubes can make. This high gain metal wonder is based off of the iconic 6505®Plus amplifier that took over stages all around the world. While still using near identical circuitry as the regular 6505®Plus the 6534®Plus just changes out the 6L6 power amp tubes for the more classically British EL34 tubes instead.
The Tone Difference
While you still get the same insane amount of saturation and gain on your high gain tones it reacts slightly differently. It has a lot more of a midrange focus with smoother highs and more subdues lows. This gives off a bit more of a British vibe while still sounding like a 6505®Plus.
If you want a more controllable version of the 6505®Plus that can be easily tamed for hard rock or even softer styles this is an amplifier that is worth looking at.
Made For Downtuning
One of the reasons that the original 6505 became so popular for metal bands is that it allowed you to keep a bright and tight tone even at really low tunings. The 6534®Plus is actually even better for these lower tunings due to the fact that the low end is even tighter than the 6505®Plus. The boosted midrange also really helps as it helps you cut through without needing to crank the treble.
A big reason people love the 6534®Plus and its brother the 6505®Plus is just how loud they are. This is not an amp for your bedroom as with 120w of all valve power coming from a quad of EL34 power amp tubes this is made for live use. Just plug this amp in to your 2x12 or 4x12 cab of choice and you are ready to rock any size stage...most of the time without needing a mic.
All of the tonal aspects that made them such a good studio amp translate incredibly well to the stage as well. Not many amps can claim to have the same tight low end and incredible cutting saturation that the 6505 does and that is why metal players love it.
Built Like A Tank
Peavey gear is known for lasting a long time and lot of that reputation comes from the 6505®Plus the brother to the 6534®Plus. These have been on tour all around the world with every kind of band imaginable and the reason these keep getting used is the absolutely incredible tone as well as the fact that they survive. You will very rarely see any 6534®Plus amps fail on your so you know that this will take everything you can throw at it.
Here's what Peavey say about the 6534+ Amp
The Peavey 6534®Plus Head is a two-channel, 120-watt amplifier designed with EL34 power tubes to give this American legend a British flavor. The extreme high gain and legendary tone of the 6505®Plus Series is here in excess, but with a special new design to minimize the noise that high-gain tube amps generate. In addition, the amp's Rhythm channel is voiced to clean up nicely while still retaining its raw saturation. Six select 12AX7 preamp tubes provide the tonal foundation for the 6534®Plus. Both the Lead and Rhythm channels feature independent three-band EQ, pre and post gain controls and Peavey's patented Resonance and Presence controls, which provide low-end enhancement and high-end boost, respectively. The Rhythm channel also includes a bright switch and footswitchable Crunch boost. Additional features include footswitchable effects loop and preamp output.
Peavey 6534 Plus Tuber Guitar Amplifier Head Features:
- A hybrid sound between classic American and vintage British sound
- 120W from six 12AX7 preamp tubes and four EL34 power amp tubes
- Three-band EQ, Pre Gain and Post Gain, and Resonance and Presence controls on each channel
- Included footswitch controls Lead/Rhythm channel select and Crunch boost
- Additional connectivity for preamp output, effects loop, and bias test point
The Peavey 6534®Plus Head is a two-channel, 120-watt amplifier designed with EL34 power tubes to give this American legend a British flavor. The extreme high gain and legendary tone of the 6505®Plus Series is here in excess, but with a special new design to minimize the noise that high-gain tube amps generate. In addition, the amp's Rhythm channel is voiced to clean up nicely while still retaining its raw saturation.
The Peavey 6534®Plus artist roster includes Machine HeSix select 12AX7 preamp tubes provide the tonal foundation for the 6534®Plus. Both the Lead and Rhythm channels feature independent three-band EQ, pre and post gain controls and Peavey's patented Resonance and Presence controls, which provide low-end enhancement and high-end boost, respectively. The Rhythm channel also includes a bright switch and footswitchable Crunch boost. Additional features include footswitchable effects loop and preamp output.ad, Trivium, Bullet For My Valentine, The Devil Wears Prada, Black Tide, Evergrey, All That Remains, Story of the Year, Bleeding Through, Job For A Cowboy, Black Stone Cherry, In Flames, The Black Dahlia Murder, Daath, Divine Heresy, The Red Chord, Bury Your Dead, Demon Hunter and many more.
AMP HEAD OVERVIEW:
Six 12AX7 preamp and fourEL34 power amp tubes
Footswitchable Lead/Rhythm channel select
Three-band EQ on each channel
Resonance and Presence controls on each channel
Pre Gain and Post Gain on each channel
Footswitchable Crunch boost on Rhythm channel
Bright switch on Rhythm channel
Bias test point
120 watts RMS into 16, 8 or 4 ohm
Weight Unpacked: 48.30 lb(21.908 kg)
Weight Packed: 57.00 lb(25.855 kg)
Width Packed: 13.25"(33.655 cm)
Height Packed: 28.75"(73.025 cm)
Depth Packed: 14"(35.56 cm)
PEAVEY ELECTRONICS CORPORATION HISTORY
Since its founding in 1965, our company goal has always been to build the best products available while at the same time making them affordable through the use of the most modern computer-assisted design manufacturing methods available.
The Peavey Electronics Corporation, founded in 1965 by Hartley Peavey, is a major manufacturer of guitars, amplifiers, speakers, electronic keyboards, and other electronic audio-enhancement equipment. In 1993, the company, solely owned by Hartley, then chairman, and Melia Peavey, his wife and president of the company, had sales estimated at $210 million. Exports to more than a hundred countries accounted for an estimated 40 percent of sales. Peavey® Electronics, with more than 1,600 different products, is also the tenth largest manufacturer in Mississippi, with more than a million square feet of warehouse and manufacturing space in east-central Mississippi, including a 40-acre headquarters site known as Peavey City in Meridian. The company also has manufacturing operations in Foley, Alabama, and in Corby, England, and distribution centers in The Netherlands and Canada. Its chief competitor is Yamaha, the Japanese conglomerate. Founder Hartley Peavey, whose "hometown boy makes good" story made him a local legend in Mississippi, has been the recipient of numerous awards for entrepreneurship, including the "E Star" award for success in international markets from the U.S. Department of Commerce. He was also inducted into Hollywood's "Rock Walk of Fame" in 1990 for his contributions to rock 'n' roll music.
Musical Ambitions in the 1950s
Hartley Peavey grew up in Meridian, Mississippi, and had early aspirations of becoming a rock 'n' roll guitar player. As a teenager in the late 1950s, he worked in the Peavey Melody Music Store, owned by his father, J.B. "Mutt" Peavey, and tinkered with building amplifiers for local musicians. When, as he once confessed to Inc. magazine, he turned out to be a "pretty lousy guitarist," Peavey decided his future was in making amplifiers.
In 1965, after graduating from Mississippi State University with a degree in marketing and management, Peavey, then 23, took the remaining $8,000 in his college fund and formed Peavey® Electronics, working out of his parents' basement. As he later recalled in "Music and Sound's Greatest Hit," published by Peavey Electronics for its 25th anniversary: "I would build one (amplifier) a week, go out and sell it, come back and start on another one." The amplifiers were inscribed with the lightning bolt logo that Peavey had designed as a college freshman.
A year later, Peavey moved the business from the family's basement to an attic in the building that had housed his father's music store. By then, his father had sold the music store but still owned the building. Peavey also hired his first employee, a salesman, so he could concentrate on building amplifiers.
In the mid-1960s, however, there were many larger, better-known companies making amplifiers, and Peavey soon expanded into building public address systems to keep his young business afloat. In the company's 25th anniversary retrospective, Peavey explained that as "I traveled and talked to music dealers, I realized there was no shortage of instrument amplifiers. But if you wanted a PA system there were essentially only two available and both were expensive systems.... Most folks think I got into the music business with guitar amps. Not necessarily so!"
Staying in Meridian
By 1968, business was good enough that Peavey decided to borrow $17,500 to build a small "factory" in Meridian. Over the next five years, Peavey Electronics enlarged the building seven times, and having grown to more than 150 employees, in 1973 the company began construction on Plant #3, which would become its main manufacturing facility. To hire enough skilled employees, Peavey Electronics established training courses at Meridian Community College.
Over the years, Peavey was often asked about his decision to keep the company in Meridian. In 1985, he told Inc. that Mississippi "unfortunately runs dead last in everything. You don't have the skilled people you need, you don't have the suppliers, you don't have the access to the freight network.... Back in 1965, when I got into this, I was too damn dumb to know it couldn't be done." He went on to say that he had "lost count" of how often he wished he had built Peavey Electronics somewhere else. In a later interview with his hometown newspaper, The Meridian Star, Peavey explained, "What I tried to say in the Inc. article was that Mississippi presented many difficulties in starting a high-tech business. And some of these difficulties exist to this day." In 1982, the City of Meridian honored its hometown industrialist by proclaiming April 21 as Hartley Peavey Day.
In the late 1980s, when the company was considering building its first U.S. manufacturing facility outside of Mississippi, then-Governor Ray Mabus worked with Peavey Electronics and Meridian Community College to create The Meridian Partnership, the first private-sector use of the Job Skills Education Program, a technology and basic-skills program originally developed by the U.S. Army. In the early 1990s, Peavey Electronics opened a 58,000-square-foot training center, complete with its own recording studio, for its employees and more than 1,200 dealers. In 1993, Peavey told The News in Boca Raton, Florida, where he and his wife had a second home, "People ask me why Mississippi and I say, "Where do you think rock 'n' roll was born?"
Vertical Integration in the 1970s
It was in the early 1970s that the company began the vertical integration that would make it unique among major electronic musical equipment manufacturers. Unable to purchase reliable speaker components for its high-power amplifiers, Peavey Electronics began making its own loudspeakers. Eventually, Peavey Electronics would build everything it needed for its musical instruments, from cabinets and metal work down to making its own circuit boards and running its own advertising agency.
In 1990, Peavey explained, "If somebody local had been able to subcontract for me the things I needed to build amplifiers, I would probably still be using subcontractors. We had to learn to make our own chassis, our own circuit boards, and eventually everything 'in-house.' And while we thought it was a tremendous disadvantage, and in many ways it was, we discovered that it was the best thing that could have happened."
In the mid-1970s, Peavey Electronics also began manufacturing electric guitars, again more from necessity than design. Several leading electronic instrument companies were gobbled up by conglomerates during the 1960s, including Fender Musical Instruments, which was purchased by CBS in 1964. These companies, with their immense marketing power, began encouraging dealers to sell their guitars and amplifiers as a package deal, cutting into sales of Peavey amps.
As he had when he adopted solid-state components for his first amplifiers, Peavey embraced state-of-the-art technology to produce guitars at lower cost, becoming the first manufacturer to use computer-controlled machinery to turn out guitar bodies and precision parts. Years later, Peavey recalled, "When we announced that we were making guitar bodies on computer-controlled machinery, some of the most prominent names in the industry said, 'Impossible. Everybody knows you can't make guitars with a computer.' That was a rather simplistic attitude, we thought, because, in fact, we weren't making guitars on computers. We were using ... computer-controlled machines to make precision guitar parts to tolerances that heretofore manufacturers couldn't even think about approaching. Guitar makers are always talking about handcraftsmanship. What handcraftsmanship is, in many instances, is the ability to fit together parts that are produced with a lot of 'slop' in them."
In the early 1990s, Peavey Electronics would establish a Computer-Integrated Manufacturing (CIM) system to link and track all aspects of its manufacturing, and increasingly the company was using robotics in its assembly processes. The company, however, had an unofficial no-layoffs policy and employees whose jobs were eliminated by technology were retrained for other positions. In 1994, Jere Hess, then director of public relations, told The Meridian Star, "No one in this company has ever lost their job because of automation."
When Peavey Electronics celebrated its 25th anniversary in 1990, The Meridian Star published a 40-page special edition to honor the company that had become the area's largest employer. The newspaper noted that Peavey Electronics created more than 1,000 new jobs in east-central Mississippi between 1980 and 1989, including more than 850 in the Meridian area, and 73 percent of all new manufacturing jobs in Lauderdale County. Among those saluting the company was Mayor Jimmy Kemp, who said, "Of course the obvious things you think about when somebody in your community employs 1,850 people is the enormous impact it has on your city, which is fantastic. I'd hate to think what we'd do without Peavey Electronics as far as our city is concerned." Peavey Electronics was then the tenth largest manufacturing employer in the state.
In 1991, Peavey Electronics was one of 20 companies selected by the U.S. Department of Commerce to participate in a five-year program designed to stimulate export of U.S. products to Japan. As part of the program, the Department of Commerce arranged meetings between heads of the U.S. companies and Japanese officials, including Prime Minister Toshiki Kaifu and Minister of International Trade and Industry Eiichi Nakao. Peavey Electronics, which first entered the Japanese market in the mid-1970s in a short-lived relationship with industrial giant Yamaha Corporation, also agreed to participate in at least one trade show a year in Japan. Although the company contracted with other distributor, Japan was never a significant market.
In 1991, President George Bush chose Peavey Electronics as the site to give a speech on economic growth. The Meridian Starnoted, "Hoping to pump fresh air into his sagging popularity, President Bush hailed the success of Meridian's Peavey Electronics Co. as proof that Americans can excel in a worldwide economic battle." The newspaper also quoted Peavey as stating that the company's "one real goal, perhaps unreachable, is to become a $1 billion company." At the time, Peavey Electronics was reported in the local media to have sales approaching $500 million a year, although company executives said that figure was greatly exaggerated. As a matter of policy, the privately held company did not release financial information, but annual sales in the mid-1990s were generally believed to be about $200 million to $220 million.
A BRIEF HISTORY OF PEAVEY AMPLIFIERS: A LEGACY OF QUALITY AND AFFORDABILITY
The story of how Peavey became one of the largest audio manufacturers in the world is one of humble beginnings and a well-deserved reputation for quality, value and innovation. Growing up as a guitar or bass player, you’ve probably owned or played your fair share of Peavey amps, since the company’s catalogue is so affordable, diverse and well distributed.
After graduating from Mississippi State in 1965, Hartley Peavey started his company above his father’s music store, building amps one at a time. Since then, Peavey has proven to be a pioneer in all facets of solid-state and tube-driven amplification, which has led to the design of some of the world’s best and best-selling amplifiers, including the Bandit and the 5150.
Not only is the company passionate about sound, it is equally passionate about build quality and affordability. Peaveys are known for their innovative circuitry, being built like tanks and for being affordable enough for musicians at every level, across the globe.
In 1961 Hartley Peavey made his first amplifier and adorned it with the instantly recognizable company logo, which he designed himself in high school. When he launched the company four years later, Peavey produced only two amplifiers: The Musician and Dyna Bass. Both models were high-wattage, solid-state amplifiers that included simple features for the working musician.
In 1973, Peavey began development on a series of vintage Fender Twin inspired amps, with 6L6 power tubes and two 6C10 pre-amp tubes. These amps had a different sonic signature than the Twin and had their own unique sound. Since solid state was all the rage back in the 1970s, later versions capitalized on new technology, which enabled the combination of solid state pre-amps with tube power amps.
The vintage series was the precursor to the now popular all-tube Classic series, which features an EL84 power section that effectively combines classic Vox- and Fender-type tones in one convenient and versatile amp for use in many different styles of music.
SOLID STATE DOMINANCE
With solid state amps becoming increasingly popular in the ‘70s and early ‘80s, Peavey developed what is arguably its most famous solid-state amp: the Bandit.
Conceived in 1980, the Bandit since has gone through many revisions and Bandits still are being produced today with Peavey’s own Trans Tube technology. This innovative feature emulates the sound and feel of a tube amp using solid state power. Peavey accomplished this by modelling the overload characteristics of the amp and transformer as well as emulating the sound of asymmetrically clipping tubes.
Early model Bandits are instantly recognizable by their multi-coloured knobs and silver panels adorning the sides of the grill cloth. Varying in wattage over time, the Bandit has become a reliable tool in the solid-state amp lover’s arsenal.
MORE GAIN FOR ‘80S METAL PLAYERS
When hair metal first hit in the ‘80s, players required more gain for new playing techniques, such as two-handed tapping and sweep picking. Marshall was ahead of the curve for this particular sound with the coveted JCM800 2203, but Peavey offered its take on that circuit with the Butcher and VTM series. Instead of Marshall's usual EL34 tubes, both series of Peavey amps used 6L6 power tubes, which yielded a darker sound and a less apparent upper-mid presence.
Many compare the VTM to a hot-rodded JCM800 and the Butcher to a normal JCM800, but even though these amps may share similar tonal characteristics, they are definitely their own beasts. These amps are extremely versatile and can be bought for much less than comparable competitors.
MODERN METAL MAYHEM
In the early ‘90s, more players began demanding even more gain, power and options, and Peavey moved to the front of the pack, via the three channel Ultra Plus, a currently undervalued amp.
The Ultra Plus could cover any genre of music with its crisp-and-spanky clean channel for country; crunch channel for rock’s cutting midrange; and ultra-channel for searing leads and metal riffs
Using an active EQ section, the user could boost or cut any frequency with precision and dial in his own desired tone. Peavey seems to favour 6L6 power tubes, and at 120 watts this head could do the job for any situation. It was a precursor to the Triple XXX series, which was a slightly modified version of the Ultra Plus, but it featured updated aesthetics, including a metal faceplate akin to a Mesa Triple Rectifier. Peavey since has come out with the Triple XXX II, which features switchable power tubes from the stock EL34s to 6L6s.
THE MOST FAMOUS OF THEM ALL
The 5150 was unleashed in 1992 after a two-year collaboration between the creative minds of amp designer James Brown and guitarist Eddie Van Halen.
Featuring two channels, a 120 watt all-tube 6L6 power section and a shared EQ, the 5150 was able to produce a variety of rock and metal tones. The rhythm channel could be set clean or crunchy, but the lead channel is what this amp is famous for. With its super high-gain sound, it could be used for anything from tight and aggressive metal riffs to blistering lead tones. This led to the 5150 II with separate EQs for each channel, which made the amp even more versatile. In 2004, EVH parted ways with Peavey and the amp was rebranded as the 6505 and 6505+, along with the 6534 and 6534+, which feature an EL34 power section for a more British flavour.
Since its creation, Peavey strives to make powerful, affordable amplifiers so that every musician can have the means to own one and the privilege to play through one.
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