Strings loaded through the body on the T-40 and T-45, but loaded through the end of the bridge on the T-20.The new electronics on the T-20 were obvious at first sight.To some observers, the T-40/T-45 body looked stodgy, and the T-20’s slimmer profile brought it more in line with most contemporary bass body silhouettes.
The Fury moniker would be resurrected in 1987, on an instrument that resembled a Fender Precision Bass.
Even though it was fairly ubiquitous in its time, the T-20 was actually a relatively short-lived model from Peavey.
The August 1, 1983 price noted that the T-20 now came in several finishes, including Natural with a maple neck (a rosewood fretboard was a $25 upgrade), as well as what would turn out to be a fairly-rare T-20FL fretless version, the rosewood fretboard of which had dot markers and “sissy lines” for reference.
Two new attractive metallic colors, Sun Fire Red or Frost Blue (seen on the T-20 in the inset photo) were also cited on the same price list.
Sporting “lightning P” knobs like all other Peavey guitars and basses of the time, the T-20 had a (less-complicated) “tone compensated volume control” and a “wide-range tone control”.
The T-20 had two finishes noted on the April ’82 price list, “Satin Sunburst” and “Gloss Sunburst”.What’s more, the T-20 had a new bridge instead of the die-cast monsters seen on the earlier twosome.The T-20’s bridge was a lightweight “triple chrome plated” item, which had barrel-shaped saddles instead of the rectangular saddles found on the earlier die-cast bridge.The new, sleeker-looking Peavey bass proved to be popular, possibly because it was a simpler instrument, visually and sonically.It was balanced, easy to play, and the potent new pickup was bright and beefy.Introduced in 1982, Peavey’s T-20 was different from other basses in the Peavey lineup, the two-pickup T-40, and the single-pickup T-45.