Your Peavey Session 400 Preamp Pedal Review

[Dennis Detweiler]

Brooks, the EPS 15C pronounces the highs a little more than a Wheelhouse 200 or 1501. When I used a 15C I bought a Broughton Low Pass Filter mini pedal to dial down the the highs. It's a handy pedal and works great for controlling the highs. The Hi Cut on the 201 may be enough to knock the edge off. My 400 pedal settings after the Elks job last night are:
Volume 7, Bass 8, Treble 5, Sensitivity 10, Mid 3, Shift 6, Presence 0. I used a Matchbox last night for a buffer and mellowed it out a little more with the tone control. Everybody's tone settings will vary with regard to the steel, pickup, cords, volume pedal. I played my 1975 Maple body MSA, Telonics X12 pickup, ShoBud volume pedal. Connections: guitar to Matchbox to volume pedal to Ibanez Anolog Mini Delay to Nux Damp Mini Reverb to Session 400 pedal to Quilter 201.
Fred has a point with having to use another delay and reverb for the lap steel unless an A/B box could quietly switch the delay and reverb from steel to lap steel?
We were typing at the same time. Sounds like you have it figured out.

[Fred Treece]

Edit: and I guess, thinking ahead, the disadvantage of going both instruments thru the one Quilter Toneblock 201, is that there will be just one D.I. out for those occasions where there is a bonafide soundman: he’ll most likely have to tweek sound on the fly when switching instruments (?).

Or put a mic on the speaker into one channel plus run the direct out to another. That way the soundguy can just mute one channel or the other. Of course, this requires the attention part of someone with attention deficit disorder.

[Dennis Detweiler]

As Fred said. Then, have another mic for you patched only to the sound guy to wake him up when you switch instruments.

[Peter J Birch]

I am a relative newbie to PSG and a total newbie to this forum. Have been playing 22 months.
During that time I have spent too much time trying to get a really good sound. Many amps and FX's.
Eventually I got close with PSG thru a Fractal VP4 to a Tone Block 202 fitted into a cabinet (like the Quilter made but now discontinued in 12"). I put a TT-12 in it - so very light to carry. (Had to invest in a multi-tool though to incorporate the two)

When I read that Peavey were bringing out a pedal range, I ordered a Session 400. It arrived at the end of August.
Tried various settings some good some bad. Then decided I didn't really like the TB-202 preamp. So went direct to the return socket which I have been doing with a lot of FX boards over the years.

The sound was then more controllable. It took me a week of tweaking to come to what I really liked.

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Now I know that this will not suit everybody because it all depends on our individual signal chains. I aim for a milder sound with NO highs that make my ears bleed.
I have kept the above settings for a month now and see no need to change, which for me is a miracle.
I would rate this pedal 10/10. It does just what it is meant to do. No reverb but wouldn't use it even if it were in-the-box as the delays and reverbs in the VP4 are some of the best.

[Alan Cook]

Into the post eq of my Nashville 112 similar settings to the E9th recommended amp settings on the amp and pedal, sounds great. Sensitivity 7 volume 5 on the pedal.

[Jeffrey Shu]

Pondering... reluctantly... going from a Twin to in-ear and/or direct into the PA to reduce stage volume. I have accepted I'll be giving up tubes, but I do use some crunch and other effects on certain songs. Any advice with the pedal to keep some warmth and to work well with effects? Maybe I'm asking too much of a preamp?

I play a Steelaire with one outfit and note that it doesn't handle overdrive like a tube. Tolerable, but not the Twin. Is this closer to the sound I'd likely get with this pedal? I appreciate any suggestions if you've had a chance to try it.

[Jon Jaffe]

I think the best way to get a warm tone is by placing Brad Sarno's Steel Guitar Black Box directly after your guitar and in front of your volume pedal. I use one all the time, regardless of the stage mix. After my volume pedal, I use a TONEX One or, most recently, the Session 400 Preamp Pedal. I prefer not to reach down for anything when I'm playing, so most of my pedals are clipped to the right leg of my guitar. I have played two or three gigs with the PV pedal piggybacked on the Steel Guitar Black Box Mini.

IMG_0062.jpeg

I have found that you can go directly into a board out of the PV pedal. If you are going into a stage amplifier, I would suggest an FRFR-powered speaker. I use both the TONEX Cab and the Fender FR series.

P.S.: I will reach down to pull out a 10-foot birdie skin.

[Jerry Overstreet]

Provided this is what it's cracked up to be, Peavey missed the boat by not providing XLR direct out circuitry. It's a mystery to me? A perfect opportunity. I can't speak for anyone esle but if I were buying one of these I would gladly pay another $50 or so for that feature.

[Jon Jaffe]

A TS 1/4" cable to a XLR works just fine.

[Jerry Overstreet]

Sure, I understand that but isn't true direct out circuitry more than just an XLR jack? I defer to the more knowledgeable.

[Peter J Birch]

You are both correct - sort of...
Differences Between XLR and 1/4" Jack Outputs
Signal Type

XLR Outputs: Typically balanced, using three conductors (two signal wires and one ground). This design helps cancel out noise and allows for longer cable runs without interference.

1/4" Jack Outputs: Can be either balanced (TRS - Tip/Ring/Sleeve) or unbalanced (TS - Tip/Sleeve). Unbalanced outputs are more susceptible to noise, especially over long distances.

Volume Levels

Balanced Signals: XLR outputs generally provide a signal that is 6 dB hotter than an unbalanced signal from a 1/4" output. This means that, all else being equal, XLR outputs can deliver a stronger signal.

Unbalanced Signals: If using a TS 1/4" output, the signal may be weaker and more prone to interference compared to a balanced XLR output.

Application and Use

XLR Outputs: Preferred for professional audio applications, especially in live sound and studio settings. They are more reliable due to their locking mechanism and are less likely to disconnect accidentally.

1/4" Jack Outputs: Commonly used for instruments and in situations where the cable run is short. They are versatile but may not provide the same level of noise rejection as XLR outputs.

I have in the studio had runs of 5mtrs with balanced 1/4" TRS with no noise. The 1/4" to XLR would probably work OK from a shield point of view but would not boost the signal for longer runs. Also would not have the locking facility.
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On the other point of Peavey missing a trick with this XLR output, I like the idea of a cheap, and very good, basic pedal. Maybe they will later consider an up-market model with 2 or more of these pedals built in. I would like to see that as the Teal and the Decade would give a grittier sound. Then have XLR out and MIDI in to change on-board presets.