Peavey® invective™.120 - 120/60w 4/8/16-Ohm 3Ch All-Valve Guitar Amp Head w/- 4 x JJ 6L6GC Power & 6 x 12AX7 Pre-Amp Tubes, MIDI, Noise Gate, 2x9v Pwr Outs, 2xEffects-Loops ★ BRAND NEW | SEALED BOX ★ FREE FREIGHT | 3YR WARRANTY | LIMITLESS LAYBY | PAYPAL
SKU:
NTM-03615860-N
A$3,699.00
A$2,999.00
A$2,999.00
On Sale
per item
Peavey® invective™.120 - 120w/60watt 4/8/16-Ohm 3-Channel All-Valve Tube Guitar Amplifier Head w/- 4 x Matched JJ 6L6GC Power Tubes, 6 x 12AX7 Pre-Amp Tubes, Clean channel Gain/Low/Mid/High/Post/ Boost Drive & Tone, Independent Lead/Crunch Pre & Post Gain Controls, MIDI In/Out/Thru, Noise Gate, 2 x 9v Power Outputs, Two Effects Loops, Half-Power Switch, Two x 3-band EQs, XLR (DI out), Top-Loaded Bias Test Points & Adjustment and EVERYTHING remote switchable via the Full 10-Button MIDI Footswitch, boasting unprecedented pristine cleans & crushing modern metal tones, bringing an extraordinary level of versatility to amps within this class.
★ BRAND NEW | SEALED BOX ★ FREE FREIGHT | 3YR WARRANTY | LIMITLESS LAYBY | PAYPAL | NO INTEREST EVER Finance Available
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Peavey® invective™ Series invective™.120
120watt Guitar Amplifier Head
BEHOLD! The Peavey® invective™️.120!!! We have been waiting with bated breath for this amp to arrive and let us tell you, IT DOES NOT DISAPPOINT!! Designed in collaboration with Misha Mansoor of Horizon Devices®, GGD, and Periphery, this amp offers pristine cleans all the way through to crushing modern metal tones, bringing an unprecedented level of versatility to amps within this class. Based around the no-compromise high gain legend, the Peavey® 6505™, but with a laundry list of modern appointments for the modern metal player - such as an included MIDI foot switch that gives you access to 9 switchable pre-sets, 2 switchable effects loops, as well as boosts for each of the 3 channels (as well as a master boost!) oh did we mention there is a super high quality noise gate built into the head that is switchable, and even a microphone simulated direct output with a volume and tone control and a ground lift!! To round it off, there is a half power switch on the back if you’re worried about the neighbours
Major design input from Periphery's Misha Mansoor
The first high-gain amplifier to deliver pristine cleans, the Peavey® invective™.120 starts with the no-compromise high-gain performance of the legendary Peavey® 6505™ series, then adds a level of versatility that is unprecedented in an amp within this class. Designed in collaboration with Misha Mansoor of Periphery, the Peavey® invective™.120 features three channels which each deliver a distinctive sonic range, as well as a long list of controls that allow you to dial in that perfect tone. Use the included footswitch to quickly switch from one tone to the next, from the most extreme high gain metal, to a flawless classic rock tone, to a deep clean jazz tone - it's all there, and everything in-between!
Guitarists with heavier tastes looking for their next upgrade will find a sturdy solution in the new Peavey® invective™.120 Head and Peavey® invective™ 212 Cabinet. This dynamic duo is perfectly suited for each other, helping players achieve the most revered metal sounds, from woody and clean to the most extreme of high gain tones.
A tube amp only sounds as good as what's inside, and the Peavey® invective™.120 delivers with four matched JJ6L6GC output tubes with top-loaded bias test points and adjustment. The rear panel features paralleled speaker outputs with impedance selector, an MSDI-XLR direct output with Level/Tone/Ground Lift, MIDI out/thru, and MIDI footswitch input. The included footswitch has nine pre-sets to further help the player achieve their desired tone. Two remote switchable effects loops, a half-power switch, and two 9VDC/ 500mA auxiliary power jacks for effects pedals complete the rear panel.
On the front panel, players will find even more options and advanced control. The Peavey® invective™.120 Head has a single input with three key remote switchable channels (Clean/Crunch/Lead), giving you a sonic palette that lets your imagination run wild. Both the Lead and Crunch channels have independent Pre and Post Gain controls as well as shared low/mid/high EQ, in line with the revered Peavey® 6505™ head. They also feature a shared switchable front end boost fast attack input noise gate with a threshold for complete control over muting. The standby and power switches with blue jewelled pilot light indicate when the amp is ready. Just adjust the Master Resonance, Presence, and Volume knobs, and it's ready to rock.
Misha Mansoor Signature Head
The Peavey® invective™.120 is the signature 120-watt, all-tube electric guitar amplifier head of Periphery guitarist Misha Mansoor. He is a well-known fan of the convenience digital emulation affords, so the invective needed to offer wide-ranging versatility, switching simplicity, and tight high-gain tones that leave the digital world in the dust. With features such as MIDI, a cab-simulated output, and a super-tight noise gate, the Peavey® invective™.120 delivers on all fronts. Dig into the Peavey® invective™.120 amp head — you'll find everything you need and much more.
From pristine clean to punishing high gain
To pull off his genre-defining range of tones and techniques, Misha Mansoor requires an electric guitar amp head that delivers top-quality tones from crystal clear to over-the-top distortion. The Peavey® invective™.120 more than obliges. The crunch and lead channels are voiced after Peavey's legendary 6505™ tube amp line. And the clean channel is specifically engineered to deliver completely clean tone at any volume level, while also having footswitchable options to push it a bit harder. No matter what shade of gain you need, the Peavey® invective™.120 has it covered.
Loaded with features for today's player
The Peavey® invective™.120 all-tube amplifier head is packed to the brim with added features that are sure to benefit players wanting the same tonal flexibility as many modelling units. A noise gate is featured on the front of the unit that boasts an incredibly fast response — perfect for precise palm-muted riffs. The amp's half-power switch dials it in for performance spaces small to large. Dual 9-volt, 500mA outputs on the back of the amp power pedals you'd rather leave out of harm's way. And dual effects loops allow you to assign what channels you want them to affect.
Powerful switching
Not only does the Peavey® invective™.120 sport a bevy of player-friendly features, it also offers a brilliant array of switching options, allowing you to access all your tones quickly whether at rehearsal or as part of a large onstage setup. The amp head ships with a rugged footswitch that accesses nearly every feature onboard the amp. You'll be able to switch your loops, channels, noise gate, boosts, and more. Or switch to one of the nine pre-set modes and completely change your tone with a single stomp. And MIDI functionality adds an even more powerful level of switching that will integrate into a larger system.
MSDI Direct Output
As NTM knows, silent stages are becoming more and more prevalent in every genre of music. The Peavey® invective™.120 caters to this with its MSDI Direct Output feature. You're able to send a high-quality, cabinet-simulated signal to your front of house or recording console. And the controls for level, tone, and ground lift, which were voiced in collaboration with Joe Satriani, ensure your audience hears exactly what you want them to.
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Peavey® Misha Mansoor Signature
invective™.120Amp Head Features:
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Tech Specs
Type: Tube
Number of Channels: 3
Total Power: 120W (half power switchable)
Preamp Tubes: 6 x 12AX7
Power Tubes: 4 x JJ 6L6GC
EQ: 3-band EQ
Inputs: 1 x ¼" (instrument)
Outputs: 2 x ¼" (4/8/16 Ohms), 1 x XLR (DI out)
Effects Loop: Dual effects loops
MIDI I/O: In/Out/Thru
Footswitch I/O: 1 x 8-pin DIN
Footswitch Included: Yes, 10-button
Features: Gate threshold control, 500ma pedal power supply, bias test points
Construction Material: Black Tolex
Power Source: Standard IEC AC cable, 2 x 9V DC outputs
Height: 10.0"
Width: 26.7"
Depth: 11.8"
Weight: 48.3 lbs.
Manufacturer Part Number: 03615860
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SPECIFICATIONS
Single input
Master Resonance
Master Presence
Master Volume
Shared Low/Mid/High EQ on Lead/Crunch channels
Power and Standby switches
MIDI / Footswitch Input
MIDI Out/Thru
2 x 9VDC at 500mA Auxiliary power jacks
Rack Loop (remote switchable)
Independent Pre and Post Gain controls on Lead and Crunch channels
Effects Loop (remote switchable)
Lead/Crunch channel Boost Level & Tone (remote switchable)
MSDI Direct Output with Level/Tone/Ground Lift
Lead/Crunch channel input muting Gate Threshold (remote switchable)
Paralleled speaker outputs with Impedance Selector
Channel Select with "bullet" LEDs (remote switchable)
Half Power Switch
Clean channel Gain/Low/Mid/High/Post - VERY CLEAN
4 Matched JJ6L6GC output tubes
Clean channel Boost Drive & Tone (remote switchable)
Top-loaded bias test points and adjustment
Blue Jewelled Pilot Light
Weight Unpacked: 48.39 lb (21.95 kg)
Weight Packed: 57.54 lb (26.1 kg)
Width Packed: 17.047" (43.29938 cm)
Height Packed: 30.433" (77.29982 cm)
Depth Packed: 15.827" (40.20058 cm)
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The Peavey® invective™.120
(by Jed Van Wyngaardt)
The Peavey® invective™.120 is an uber-powerful 120w amp head designed in conjunction with Misha Mansoor from Periphery.
He used the opportunity to get all of his crazy/cool ideas that he's always wanted into an amplifier. For example, there are 2x 500w pedal outputs from the amp so you can use the amp to power pedals in your effects loop, directly from the amp - even if it is a pedal that needs loads of current like the Strymon® or Eventide® pedals.
The amp started off as a 5150™ type amp but quickly turned into the Misha Mansoor sounding amp. The big change that they made was the output transformer which was specifically designed to give the amp a tight, powerful bottom-end and soaring top-end response.
Big, Blooming Clean
A lot of time was spent designing the clean channel on the invective™ head purely because most high-gain amps don't have the best clean channels. Misha wanted the invective to have a slightly compressed clean so that you'd easily be able to switch from dirty to clean and still have a controlled sound.
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MusicRadar
THE NO.1 WEBSITE FOR MUSICIANS
Peavey® invective™.120 Head Review
Has Peavey® just made the perfect metal guitar amp?
By Nick Guppy (11 February, 2019)
OUR VERDICT
Misha Mansoor and Peavey® have devised the successor to the 6505™ crown – metal amps don't get much better than this.
PROS
Peavey® found a whole new market in 1992 thanks to a collaboration with Eddie Van Halen, resulting in the iconic Peavey® 5150™ head and a massive boost for the company’s rock/metal credentials.
After the EVH association ended in 2004, Peavey renamed the 5150™ as the 6505™, which to this day remains the industry standard for metal guitarists the world over. Now, there’s a new Peavey guitar amp that could well take over that crown - at a price.
Designed in collaboration with Periphery’s Misha Mansoor, let’s welcome the invective™.120. This amp features heavily populated front and rear control panels that remain clear and easy to follow, thanks to minimalist styling with white knobs on a white background.
There are three channels for clean, crunch and lead, with a separate EQ for the clean channel and shared EQ for the drive channels, which have separate pre- and post-level controls. All three channels have separate boost functions with controls for level and tone, and there’s also a master boost level control on the rear panel. Other cool features include half-power switching, two assignable series effects loops, a noise gate on the drive channels and master presence and resonance controls.
Controlling all those functions is easy because the Invective is MIDI-powered; most switched functions are accessed from the supplied 10-button foot controller, which can also store and recall up to nine pre-set patches.
Sound-wise, the invective™.120’s three channels and programmable boosts cover every need, from high-headroom cleans to insane multi-layered distortion from the six-valve preamp, with a lightning response that’s perfect for fast power chords, especially with the noise gate engaged. You can hear the 6505™ influence; however, the Invective is more evolved and refined.
The clean channel is a huge improvement, combining very high headroom with a boost, which adds a warm, vocal quality that raises the bar for amps in this genre. It’s unlikely, perhaps, but if you want to play jazz through an invective™.120, you can do it with total authority.
The programmable boosts add tremendous flexibility, as each one has its own independent level and tone control, while on the rear panel you’ll find Peavey’s excellent MSDI direct output, which greatly simplifies connection to a PA or recording console - although the matching 212 cabinet does a sterling job of channelling the dynamic response.
The sound quality, comprehensive feature list and the included MIDI-powered foot controller’s total recall of up to nine patches make the invective™.120 a serious pro tool, especially when combined with the matching custom-designed Celestion® Vintage 30 / Creamback™ loaded speaker cabinet. It’s a simply stunning rock weapon from Peavey that’s in a class of its own and is available for considerably less on the street. Even then, the price may make your eyes water, but so will the astounding tones.
Rated 5/5
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► CUSTOMER REVIEWS
Peavey® Invective™.120 Head Review
Overall Average Rating: ★★★★★
(5 out of 5 Stars)
★★★★★ Simply the best.
I am sure you have read up on this amp. I’m sure you have read the specs and the reviews and watched videos. For me this amp is the absolute best overall amp I have ever owned. It will do everything. Clean, blues, jazz, rock, metal and beyond. It has all the features you could want, and it lives up to the hype. Buy this amp. It will get you where you want to go.
by Isaac on July 3, 2021
Rated 5/5
★★★★★ My experience with the Peavey Invective
I've owned this amp for about 2 years. Played it in live, practice and home settings. It excels in all situations. It has a very unique voicing. Maybe too modern for some. Even the clean channel has a lot of character. In fact, that's how I'd describe this amp...lots of character. Cleans can be round and fat or chimey. The bass knob is very potent here. Cleans stay clean. Even with high output pickups. If break up is what you want here, engage the clean boost. Which is lovely. The taper here can go from barely noticeable breakup to old school hard rock. Very very cool. Lots of options. You can even use it as a treble booster. Moving on to the crunch channel. Upboosted this channel is super fat. Bordering on ridiculously huge low end. This can be used to your advantage however as it's a nice contrast to the boosted crunch. Once boosted its plenty aggressive and tight. But retains a smoothness that I really love. A little different than previous offerings from Peavey. The midrange frequencies are very nice here. Engaging the gate really brings out insane clarity in bigger chords. Roll the noise gate all the way back and you barely notice it's on. Higher settings...djent city. I prefer less aggressive gating. Very nice! The lead channel is yet again another nice contrast. Very upper mid-range focused. It's capable of getting EXTREMELY brutal. Leads are very responsive here. Lots of cut and attack. Now the master boost and post gain are tricky and maybe why some people don't understand this amp. Higher post gain settings will yield a more muscular tone while lower setting introduce more and more fizz. Even the master boost has some bearing on this. Personally, I love that amount of control. The taper of ever knob is wildly usable. I would recommend the invective™ cabinet. It really does bring out all the character I mentioned before. That's the thing...this is not a repeat of a 5150™. The Invective is its own beast. And an incredible one at that.
by Keola from KS on March 26, 2021
★★★★★ Duuuuuuuuhjent
It djents, I approve!
by Momo on March 13, 2020
Rated 4.5/5
★★★★★ Metal "Swiss-Army" Amp
This amp has it all! I bought mine as a demo model, but it came looking and sounding brand new. I plugged straight into the amp, no pedals, no effects, and this amp sounds killer as is. I usually run an Ibanez® TS9™ and an ISP® Noise Decimator™ but the amps built in BOOST and Noise Gate are just as good and there's no need for me to use those pedals to get a good gain sound. I'm very happy and would recommend this amp to anyone that's wanting that modern metal tone and especially if you’re a gigging. The ONE gripe I have about this amp is the volume, you have to really crank the boost and post gain to get a good volume, however, if you’re playing in clubs and theatres, you'll most likely be mic'ed up anyway so there's no issue there.
by Darius Yazzie from Thoreau, N.M on May 9, 2021
Rated 5/5
★★★★★ Versatile beast
This thing is phenomenal. I'm a contractor that plays a wide range of styles and the invective™ has made my life easier. The clean tones rival my Fender® Princeton™, which I often play with in stereo and the sound is unreal. The amp really has every level of gain staging you could want built in. The noise gate is perfect and playing at 60watts has been more than loud enough for everything I play. My only complaint is with the 2 built in 9v power supply. It's such an awesome premise, but I don't think they were able to truly get it isolated. I use a somewhat large pedal board and jumped at the thought of clearing some space and powering my Strymon® pedals with the head, however they must not be properly isolated as the immediately add 60 cycle ‘hum’. This is a small inconvenience for me as I was working without those power supplies for forever and just put them back on my board, but I could see someone getting pretty frustrated with that. Other than those power supply ports adding hum (which you can completely negate by powering them with a separate power supply) this thing is perfect. Couldn't recommend more!
by David from Charlotte, N.C. on February 5, 2021
Music background: Contractor (theme parks, cruises, etc.)
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PEAVEY® - We Are Innovation. Amplified.
Driven by an unmatched legacy of innovation and a total dedication to quality and reliability, Peavey Electronics embodies the pursuit of perfection in music and audio. It's our unifying spirit. It's proven - and it continues today.
For nearly five decades, Peavey has blazed its own path toward musical perfection. Founded by Hartley Peavey in 1965 as a one-man shop, today Peavey Electronics Corporation is one of the largest makers and suppliers of musical instruments, amplifiers and professional audio systems in the world—distributing more than 2,000 products to more than 130 countries.
Hartley has famously said, "In order to be better, by definition you must be different." What makes Peavey different is a commitment to approaching business with a unique vision, from product design to distribution to being the largest independently owned manufacturer in the business. His quest has led to more than 180 patents and innovations in the way we hear and play music.
Hartley Peavey is not only the visionary, lead engineer and chief executive, but also the lynch pin that connects a rich history to a bright future. And his founding principles of quality, reliability and innovation are still the focus of engineering and manufacturing operations that span continents and languages, customs and cultures.
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PEAVEY ELECTRONICS - CORPORATION HISTORY
Company Perspectives
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.
Company History
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 centres 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 travelled and talked to music dealers, I realised 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 honoured 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 centre, 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 hand craftsmanship. What hand craftsmanship 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."
Twenty-Fifth Anniversary
When Peavey Electronics celebrated its 25th anniversary in 1990, The Meridian Star published a 40-page special edition to honour 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 Star noted, "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.
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A Brief History of Peavey Amplifiers –
A Legacy of Quality & 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.
Humble Beginnings
In 1961 Hartley Peavey made his first amplifier and adorned it with the instantly recognisable 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 Bandit®s still are being produced today with Peavey’s own TransTube® 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 recognisable 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 mid-range; 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 face plate 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 re-branded as the 6505® and 6505®+ (also known as the 6505®Plus), along with the 6534™ and 6534™+ (also known as the 6534™Plus), 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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We are the NSW Mid-North Coast Franchise Dealer for these (and more) quality musical instruments and equipment plus loads more guitar, drums, keyboard, recording, and live equipment brands
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STOCK SUPPLY NOTES
A note on our rare, classic, vintage, collectable, and used musical instrument amplifier & musical instrument equipment items. While we offer a warranty on your purchase, because we run on very tight profit margins (meaning cheaper gear - which is good for you, the buyer), it also means that you need to make sure you actually want the items for their incredible tone, durability, and lasting quality rather than perfect looks. Any returns or refunds will incur a re-stock fee of around a third the value of your (already) low purchase price so please remember that while most of our gear is excellent for the age, these items (especially our valve amplifier) are indeed rare and represent the sound of an unrepeatable era. Even though we meticulously service, test, clean, polish and warrant all our gear, there may occasionally be some residual scuffs underneath or on the sides, or perhaps a tiny tolex rip on the rear. So, while our gear will be in EXCELLENT CONDITION (for the age), we will always advise you if the gear is in MINT CONDITION or if we feel that the item is perhaps of only AVERAGE CONDITION.
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Peavey® invective™ Series invective™.120
120watt Guitar Amplifier Head
BEHOLD! The Peavey® invective™️.120!!! We have been waiting with bated breath for this amp to arrive and let us tell you, IT DOES NOT DISAPPOINT!! Designed in collaboration with Misha Mansoor of Horizon Devices®, GGD, and Periphery, this amp offers pristine cleans all the way through to crushing modern metal tones, bringing an unprecedented level of versatility to amps within this class. Based around the no-compromise high gain legend, the Peavey® 6505™, but with a laundry list of modern appointments for the modern metal player - such as an included MIDI foot switch that gives you access to 9 switchable pre-sets, 2 switchable effects loops, as well as boosts for each of the 3 channels (as well as a master boost!) oh did we mention there is a super high quality noise gate built into the head that is switchable, and even a microphone simulated direct output with a volume and tone control and a ground lift!! To round it off, there is a half power switch on the back if you’re worried about the neighbours
Major design input from Periphery's Misha Mansoor
The first high-gain amplifier to deliver pristine cleans, the Peavey® invective™.120 starts with the no-compromise high-gain performance of the legendary Peavey® 6505™ series, then adds a level of versatility that is unprecedented in an amp within this class. Designed in collaboration with Misha Mansoor of Periphery, the Peavey® invective™.120 features three channels which each deliver a distinctive sonic range, as well as a long list of controls that allow you to dial in that perfect tone. Use the included footswitch to quickly switch from one tone to the next, from the most extreme high gain metal, to a flawless classic rock tone, to a deep clean jazz tone - it's all there, and everything in-between!
Guitarists with heavier tastes looking for their next upgrade will find a sturdy solution in the new Peavey® invective™.120 Head and Peavey® invective™ 212 Cabinet. This dynamic duo is perfectly suited for each other, helping players achieve the most revered metal sounds, from woody and clean to the most extreme of high gain tones.
A tube amp only sounds as good as what's inside, and the Peavey® invective™.120 delivers with four matched JJ6L6GC output tubes with top-loaded bias test points and adjustment. The rear panel features paralleled speaker outputs with impedance selector, an MSDI-XLR direct output with Level/Tone/Ground Lift, MIDI out/thru, and MIDI footswitch input. The included footswitch has nine pre-sets to further help the player achieve their desired tone. Two remote switchable effects loops, a half-power switch, and two 9VDC/ 500mA auxiliary power jacks for effects pedals complete the rear panel.
On the front panel, players will find even more options and advanced control. The Peavey® invective™.120 Head has a single input with three key remote switchable channels (Clean/Crunch/Lead), giving you a sonic palette that lets your imagination run wild. Both the Lead and Crunch channels have independent Pre and Post Gain controls as well as shared low/mid/high EQ, in line with the revered Peavey® 6505™ head. They also feature a shared switchable front end boost fast attack input noise gate with a threshold for complete control over muting. The standby and power switches with blue jewelled pilot light indicate when the amp is ready. Just adjust the Master Resonance, Presence, and Volume knobs, and it's ready to rock.
Misha Mansoor Signature Head
The Peavey® invective™.120 is the signature 120-watt, all-tube electric guitar amplifier head of Periphery guitarist Misha Mansoor. He is a well-known fan of the convenience digital emulation affords, so the invective needed to offer wide-ranging versatility, switching simplicity, and tight high-gain tones that leave the digital world in the dust. With features such as MIDI, a cab-simulated output, and a super-tight noise gate, the Peavey® invective™.120 delivers on all fronts. Dig into the Peavey® invective™.120 amp head — you'll find everything you need and much more.
From pristine clean to punishing high gain
To pull off his genre-defining range of tones and techniques, Misha Mansoor requires an electric guitar amp head that delivers top-quality tones from crystal clear to over-the-top distortion. The Peavey® invective™.120 more than obliges. The crunch and lead channels are voiced after Peavey's legendary 6505™ tube amp line. And the clean channel is specifically engineered to deliver completely clean tone at any volume level, while also having footswitchable options to push it a bit harder. No matter what shade of gain you need, the Peavey® invective™.120 has it covered.
Loaded with features for today's player
The Peavey® invective™.120 all-tube amplifier head is packed to the brim with added features that are sure to benefit players wanting the same tonal flexibility as many modelling units. A noise gate is featured on the front of the unit that boasts an incredibly fast response — perfect for precise palm-muted riffs. The amp's half-power switch dials it in for performance spaces small to large. Dual 9-volt, 500mA outputs on the back of the amp power pedals you'd rather leave out of harm's way. And dual effects loops allow you to assign what channels you want them to affect.
Powerful switching
Not only does the Peavey® invective™.120 sport a bevy of player-friendly features, it also offers a brilliant array of switching options, allowing you to access all your tones quickly whether at rehearsal or as part of a large onstage setup. The amp head ships with a rugged footswitch that accesses nearly every feature onboard the amp. You'll be able to switch your loops, channels, noise gate, boosts, and more. Or switch to one of the nine pre-set modes and completely change your tone with a single stomp. And MIDI functionality adds an even more powerful level of switching that will integrate into a larger system.
MSDI Direct Output
As NTM knows, silent stages are becoming more and more prevalent in every genre of music. The Peavey® invective™.120 caters to this with its MSDI Direct Output feature. You're able to send a high-quality, cabinet-simulated signal to your front of house or recording console. And the controls for level, tone, and ground lift, which were voiced in collaboration with Joe Satriani, ensure your audience hears exactly what you want them to.
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Peavey® Misha Mansoor Signature
invective™.120Amp Head Features:
- Versatile signature amp for Periphery's Misha Mansoor
- 120-watt, 3-channel design offers plenty of power and tone
- Preamps designed around the popular 6505™ sound
- Pristine cleans available
- Half-power switch is great for smaller venues
- MIDI ins and outs integrate the amp into more involved stage setups
- 2 x 3-band equalizers
- 2 footswitchable effects loops offer instant recall of your tones
- Noise gate is designed for incredibly fast sound cut-off
- 2 x 9-volt, 500mA outputs on the back power pedals you want to leave on top of the amp
- Cab-emulated direct output with controls for level, tone, and ground lift
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Tech Specs
Type: Tube
Number of Channels: 3
Total Power: 120W (half power switchable)
Preamp Tubes: 6 x 12AX7
Power Tubes: 4 x JJ 6L6GC
EQ: 3-band EQ
Inputs: 1 x ¼" (instrument)
Outputs: 2 x ¼" (4/8/16 Ohms), 1 x XLR (DI out)
Effects Loop: Dual effects loops
MIDI I/O: In/Out/Thru
Footswitch I/O: 1 x 8-pin DIN
Footswitch Included: Yes, 10-button
Features: Gate threshold control, 500ma pedal power supply, bias test points
Construction Material: Black Tolex
Power Source: Standard IEC AC cable, 2 x 9V DC outputs
Height: 10.0"
Width: 26.7"
Depth: 11.8"
Weight: 48.3 lbs.
Manufacturer Part Number: 03615860
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SPECIFICATIONS
Single input
Master Resonance
Master Presence
Master Volume
Shared Low/Mid/High EQ on Lead/Crunch channels
Power and Standby switches
MIDI / Footswitch Input
MIDI Out/Thru
2 x 9VDC at 500mA Auxiliary power jacks
Rack Loop (remote switchable)
Independent Pre and Post Gain controls on Lead and Crunch channels
Effects Loop (remote switchable)
Lead/Crunch channel Boost Level & Tone (remote switchable)
MSDI Direct Output with Level/Tone/Ground Lift
Lead/Crunch channel input muting Gate Threshold (remote switchable)
Paralleled speaker outputs with Impedance Selector
Channel Select with "bullet" LEDs (remote switchable)
Half Power Switch
Clean channel Gain/Low/Mid/High/Post - VERY CLEAN
4 Matched JJ6L6GC output tubes
Clean channel Boost Drive & Tone (remote switchable)
Top-loaded bias test points and adjustment
Blue Jewelled Pilot Light
Weight Unpacked: 48.39 lb (21.95 kg)
Weight Packed: 57.54 lb (26.1 kg)
Width Packed: 17.047" (43.29938 cm)
Height Packed: 30.433" (77.29982 cm)
Depth Packed: 15.827" (40.20058 cm)
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The Peavey® invective™.120
(by Jed Van Wyngaardt)
The Peavey® invective™.120 is an uber-powerful 120w amp head designed in conjunction with Misha Mansoor from Periphery.
He used the opportunity to get all of his crazy/cool ideas that he's always wanted into an amplifier. For example, there are 2x 500w pedal outputs from the amp so you can use the amp to power pedals in your effects loop, directly from the amp - even if it is a pedal that needs loads of current like the Strymon® or Eventide® pedals.
The amp started off as a 5150™ type amp but quickly turned into the Misha Mansoor sounding amp. The big change that they made was the output transformer which was specifically designed to give the amp a tight, powerful bottom-end and soaring top-end response.
Big, Blooming Clean
A lot of time was spent designing the clean channel on the invective™ head purely because most high-gain amps don't have the best clean channels. Misha wanted the invective to have a slightly compressed clean so that you'd easily be able to switch from dirty to clean and still have a controlled sound.
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MusicRadar
THE NO.1 WEBSITE FOR MUSICIANS
Peavey® invective™.120 Head Review
Has Peavey® just made the perfect metal guitar amp?
By Nick Guppy (11 February, 2019)
OUR VERDICT
Misha Mansoor and Peavey® have devised the successor to the 6505™ crown – metal amps don't get much better than this.
PROS
- Staggering high-gain tones
- Incredible versatility
- Quality cleans
- MSDI output sounds great
- That price!
Peavey® found a whole new market in 1992 thanks to a collaboration with Eddie Van Halen, resulting in the iconic Peavey® 5150™ head and a massive boost for the company’s rock/metal credentials.
After the EVH association ended in 2004, Peavey renamed the 5150™ as the 6505™, which to this day remains the industry standard for metal guitarists the world over. Now, there’s a new Peavey guitar amp that could well take over that crown - at a price.
Designed in collaboration with Periphery’s Misha Mansoor, let’s welcome the invective™.120. This amp features heavily populated front and rear control panels that remain clear and easy to follow, thanks to minimalist styling with white knobs on a white background.
There are three channels for clean, crunch and lead, with a separate EQ for the clean channel and shared EQ for the drive channels, which have separate pre- and post-level controls. All three channels have separate boost functions with controls for level and tone, and there’s also a master boost level control on the rear panel. Other cool features include half-power switching, two assignable series effects loops, a noise gate on the drive channels and master presence and resonance controls.
Controlling all those functions is easy because the Invective is MIDI-powered; most switched functions are accessed from the supplied 10-button foot controller, which can also store and recall up to nine pre-set patches.
Sound-wise, the invective™.120’s three channels and programmable boosts cover every need, from high-headroom cleans to insane multi-layered distortion from the six-valve preamp, with a lightning response that’s perfect for fast power chords, especially with the noise gate engaged. You can hear the 6505™ influence; however, the Invective is more evolved and refined.
The clean channel is a huge improvement, combining very high headroom with a boost, which adds a warm, vocal quality that raises the bar for amps in this genre. It’s unlikely, perhaps, but if you want to play jazz through an invective™.120, you can do it with total authority.
The programmable boosts add tremendous flexibility, as each one has its own independent level and tone control, while on the rear panel you’ll find Peavey’s excellent MSDI direct output, which greatly simplifies connection to a PA or recording console - although the matching 212 cabinet does a sterling job of channelling the dynamic response.
The sound quality, comprehensive feature list and the included MIDI-powered foot controller’s total recall of up to nine patches make the invective™.120 a serious pro tool, especially when combined with the matching custom-designed Celestion® Vintage 30 / Creamback™ loaded speaker cabinet. It’s a simply stunning rock weapon from Peavey that’s in a class of its own and is available for considerably less on the street. Even then, the price may make your eyes water, but so will the astounding tones.
Rated 5/5
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► CUSTOMER REVIEWS
Peavey® Invective™.120 Head Review
Overall Average Rating: ★★★★★
(5 out of 5 Stars)
★★★★★ Simply the best.
I am sure you have read up on this amp. I’m sure you have read the specs and the reviews and watched videos. For me this amp is the absolute best overall amp I have ever owned. It will do everything. Clean, blues, jazz, rock, metal and beyond. It has all the features you could want, and it lives up to the hype. Buy this amp. It will get you where you want to go.
by Isaac on July 3, 2021
Rated 5/5
★★★★★ My experience with the Peavey Invective
I've owned this amp for about 2 years. Played it in live, practice and home settings. It excels in all situations. It has a very unique voicing. Maybe too modern for some. Even the clean channel has a lot of character. In fact, that's how I'd describe this amp...lots of character. Cleans can be round and fat or chimey. The bass knob is very potent here. Cleans stay clean. Even with high output pickups. If break up is what you want here, engage the clean boost. Which is lovely. The taper here can go from barely noticeable breakup to old school hard rock. Very very cool. Lots of options. You can even use it as a treble booster. Moving on to the crunch channel. Upboosted this channel is super fat. Bordering on ridiculously huge low end. This can be used to your advantage however as it's a nice contrast to the boosted crunch. Once boosted its plenty aggressive and tight. But retains a smoothness that I really love. A little different than previous offerings from Peavey. The midrange frequencies are very nice here. Engaging the gate really brings out insane clarity in bigger chords. Roll the noise gate all the way back and you barely notice it's on. Higher settings...djent city. I prefer less aggressive gating. Very nice! The lead channel is yet again another nice contrast. Very upper mid-range focused. It's capable of getting EXTREMELY brutal. Leads are very responsive here. Lots of cut and attack. Now the master boost and post gain are tricky and maybe why some people don't understand this amp. Higher post gain settings will yield a more muscular tone while lower setting introduce more and more fizz. Even the master boost has some bearing on this. Personally, I love that amount of control. The taper of ever knob is wildly usable. I would recommend the invective™ cabinet. It really does bring out all the character I mentioned before. That's the thing...this is not a repeat of a 5150™. The Invective is its own beast. And an incredible one at that.
by Keola from KS on March 26, 2021
★★★★★ Duuuuuuuuhjent
It djents, I approve!
by Momo on March 13, 2020
Rated 4.5/5
★★★★★ Metal "Swiss-Army" Amp
This amp has it all! I bought mine as a demo model, but it came looking and sounding brand new. I plugged straight into the amp, no pedals, no effects, and this amp sounds killer as is. I usually run an Ibanez® TS9™ and an ISP® Noise Decimator™ but the amps built in BOOST and Noise Gate are just as good and there's no need for me to use those pedals to get a good gain sound. I'm very happy and would recommend this amp to anyone that's wanting that modern metal tone and especially if you’re a gigging. The ONE gripe I have about this amp is the volume, you have to really crank the boost and post gain to get a good volume, however, if you’re playing in clubs and theatres, you'll most likely be mic'ed up anyway so there's no issue there.
by Darius Yazzie from Thoreau, N.M on May 9, 2021
Rated 5/5
★★★★★ Versatile beast
This thing is phenomenal. I'm a contractor that plays a wide range of styles and the invective™ has made my life easier. The clean tones rival my Fender® Princeton™, which I often play with in stereo and the sound is unreal. The amp really has every level of gain staging you could want built in. The noise gate is perfect and playing at 60watts has been more than loud enough for everything I play. My only complaint is with the 2 built in 9v power supply. It's such an awesome premise, but I don't think they were able to truly get it isolated. I use a somewhat large pedal board and jumped at the thought of clearing some space and powering my Strymon® pedals with the head, however they must not be properly isolated as the immediately add 60 cycle ‘hum’. This is a small inconvenience for me as I was working without those power supplies for forever and just put them back on my board, but I could see someone getting pretty frustrated with that. Other than those power supply ports adding hum (which you can completely negate by powering them with a separate power supply) this thing is perfect. Couldn't recommend more!
by David from Charlotte, N.C. on February 5, 2021
Music background: Contractor (theme parks, cruises, etc.)
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PEAVEY® - We Are Innovation. Amplified.
Driven by an unmatched legacy of innovation and a total dedication to quality and reliability, Peavey Electronics embodies the pursuit of perfection in music and audio. It's our unifying spirit. It's proven - and it continues today.
For nearly five decades, Peavey has blazed its own path toward musical perfection. Founded by Hartley Peavey in 1965 as a one-man shop, today Peavey Electronics Corporation is one of the largest makers and suppliers of musical instruments, amplifiers and professional audio systems in the world—distributing more than 2,000 products to more than 130 countries.
Hartley has famously said, "In order to be better, by definition you must be different." What makes Peavey different is a commitment to approaching business with a unique vision, from product design to distribution to being the largest independently owned manufacturer in the business. His quest has led to more than 180 patents and innovations in the way we hear and play music.
Hartley Peavey is not only the visionary, lead engineer and chief executive, but also the lynch pin that connects a rich history to a bright future. And his founding principles of quality, reliability and innovation are still the focus of engineering and manufacturing operations that span continents and languages, customs and cultures.
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PEAVEY ELECTRONICS - CORPORATION HISTORY
Company Perspectives
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.
Company History
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 centres 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 travelled and talked to music dealers, I realised 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 honoured 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 centre, 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 hand craftsmanship. What hand craftsmanship 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."
Twenty-Fifth Anniversary
When Peavey Electronics celebrated its 25th anniversary in 1990, The Meridian Star published a 40-page special edition to honour 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 Star noted, "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.
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A Brief History of Peavey Amplifiers –
A Legacy of Quality & 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.
Humble Beginnings
In 1961 Hartley Peavey made his first amplifier and adorned it with the instantly recognisable 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 Bandit®s still are being produced today with Peavey’s own TransTube® 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 recognisable 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 mid-range; 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 face plate 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 re-branded as the 6505® and 6505®+ (also known as the 6505®Plus), along with the 6534™ and 6534™+ (also known as the 6534™Plus), 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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We are the NSW Mid-North Coast Franchise Dealer for these (and more) quality musical instruments and equipment plus loads more guitar, drums, keyboard, recording, and live equipment brands
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CONTACT US
N E W T O N E M U S I C & GUITAR TRAINING CENTRE
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★For more than 25yrs N E W T O N E M U S I C we provide★
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STOCK SUPPLY NOTES
A note on our rare, classic, vintage, collectable, and used musical instrument amplifier & musical instrument equipment items. While we offer a warranty on your purchase, because we run on very tight profit margins (meaning cheaper gear - which is good for you, the buyer), it also means that you need to make sure you actually want the items for their incredible tone, durability, and lasting quality rather than perfect looks. Any returns or refunds will incur a re-stock fee of around a third the value of your (already) low purchase price so please remember that while most of our gear is excellent for the age, these items (especially our valve amplifier) are indeed rare and represent the sound of an unrepeatable era. Even though we meticulously service, test, clean, polish and warrant all our gear, there may occasionally be some residual scuffs underneath or on the sides, or perhaps a tiny tolex rip on the rear. So, while our gear will be in EXCELLENT CONDITION (for the age), we will always advise you if the gear is in MINT CONDITION or if we feel that the item is perhaps of only AVERAGE CONDITION.
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* Footswitches, Cables, etc available if originally supplied to us by the donor
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