Peavey 3120

Pre Gain (per channel)

The pre gain controls how hard the input signal drives each channel's preamp circuitry. For the Clean channel, pre gain primarily affects volume and subtle harmonic warmth — it doesn't have a dramatic saturation point. For the Rhythm channel, pre gain in the 5–8 range produces the tight, aggressive crunch the 3120 is known for; higher settings add more compression and saturation. For the Lead channel, pre gain governs the saturation depth — even at moderate settings (5–6), the Lead channel has significant gain on tap. Dial in pre gain first on any channel before adjusting EQ.

Bass (per channel)

Per-channel bass EQ. The 3120's bass response is naturally tight due to the EL34 power tubes and the amp's overall voicing. Setting bass too high (8+) on the Rhythm or Lead channel can make palm mutes sound flabby. For most metal and hard rock applications, 4–6 is the usable range on the Rhythm and Lead channels. The Clean channel can handle more bass without degrading note definition.

Mid (per channel)

Per-channel midrange EQ. The mid control has a significant effect on the 3120's character. The amp has a naturally mid-forward quality, so rolling mids back produces a scooped sound that can work for heavy rhythm, while pushing mids forward produces a more authoritative, cutting tone for leads. On the Lead channel, mid settings of 5–7 produce the fullest, most harmonically rich lead tone. On the Rhythm channel, slightly scooped mids (3–5) with tight bass produce a classic metal rhythm texture.

Treble (per channel)

Per-channel treble EQ. On the Lead channel, moderate treble (5–7) provides good note articulation without harshness. Higher treble adds edge and cut. On the Rhythm channel, treble interacts strongly with the pick attack — higher treble makes palm mutes more percussive. Lower treble (3–5) on the Rhythm channel can produce a darker, heavier tone.

Post Gain (per channel)

Controls each channel's output level going into the power amp. Setting post gain appropriately for each channel is important for tone consistency when switching between channels — the Clean channel typically needs a higher post gain to match the apparent volume of the Rhythm and Lead channels. On a modeler, each channel model should be level-matched to the others for consistent playback.

Presence

A global power amp presence control that applies across all three channels. Shapes the attack character and edge of the power amp — adds sizzle and definition to note attacks. Medium presence (5–6) is a good general starting point. Higher settings add more aggressive attack to all channels simultaneously.

Master Volume

Final output level. As with all high-gain amp simulations on a modeler, set master volume high enough that the power amp simulation contributes its natural compression and harmonic character — typically 6–9. Then use the modeler's own output controls to manage listening volume.

Resonance

Controls low-end tightness in the power amp stage. Lower resonance settings produce a tighter, more controlled low end — beneficial for fast, technical playing where palm-mute definition is critical. Higher settings add low-end resonance and a slightly looser feel. For modern metal, most players prefer resonance in the 4–6 range. For heavier, slower styles, 6–8 adds more weight.

Damping

Controls how the power amp interacts with the speaker load, affecting the tightness of the low-end response. Three settings: Tight, Mild, and Loose. Tight produces a quick, controlled bass response — the best choice for high-gain and metal rhythm playing where palm-mute definition and note separation are critical; it prevents low-end muddiness at high gain. Mild is the middle ground — balanced resonance and control, suitable for hard rock and general use. Loose provides more speaker movement, producing a warmer, more resonant low end with a slightly softer bass character; better suited for clean and blues tones where warmth and natural bloom are preferable to punch. For most metal and high-gain applications on a modeler, start with Tight and loosen only if the tone feels too stiff.