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Resumen del manual
The action of this control is conventional. An increasing amount of high boost is obtained as this control is rotated clockwise. This high EQ circuit is extremely effective and should provide more than enough tonal variation for achieving almost any amount of "top end" required. When playing hard rock, it is usually not a good idea to use maximum high end boost since excessive highs tend to make the smooth overload characteristics of this amp somewhat more "strident" and "hard" than is generally desirable. Incorporated into the high equalization control is a pull switch that drastically alters the tonality of the entire equalization system. This pull switch adds significant amounts of upper mid frequencies and has the overall tendency to create a full "thick" midrange which has proven to be very desirable when playing in the SATURATION™ mode. This pull "thick" control adds significantly to the tonal versatility of this amplifier. NOTE WHEN THIS PULL SWITCH IS ACTIVATED, THE HIGH FREQUENCIES MAY BECOME LESS PRONOUNCED BECAUSE OF THE “FULLNESS" ADDED BY THE BOOSTED MIDDLE FREQUENCIES. IN ADDITION, NORMAL TONE CONTROL ACTION (ESPECIALLY THE MIDDLE CONTROL) IS LESS PRONOUNCED AND EFFECTIVE. PRESENCE EQ CONTROL (I) To allow total control, we have included an active type presence circuit allowing true boost and cut capabilities. This control is located after the regular EQ controls and is provided for precisely tailoring the extreme highs. This presence control is capable of making the output signal extremely •'mellow” but still •'lively" as well as adding tremendous "bite' in the boost positions. It is recommended that when utilizing the SATURATION1“ effect, the final "edge” or presence of the signal be adjusted with this control. Experience has proven that extreme boosts of the presence frequencies tend to cancel out some of the "mellowness" of the amp's overload characteristics. Again, experimentation is the key to achieving optimum results. NORMAL CHANNEL___ PRE GAIN/PULL BRIGHT (J) Our pre gain control is similar to conventional volume controls in that it is the first level setting device in the system Our input preamp circuitry utilizes variable negative feedback with the pre gain control as part of the active circuit. Utilization of this type circuitry enables an optimum combination of input dynamic range, input impedance, and low noise operation for any particular gain setting. Operation should present no problem since its action is conventional even though the associated circuitry is quite different from older, totally passive circuits. Please be aware that this control exhibits the professionally accepted logarithmic (audio) taper having approximately one-tenth of the gain achieved at the 12:00 o’clock position with the balance being obtained as the control is rotated clockwise. Many manufacturers utilize "li near" action controls that concentrate almost all of the gain in the first one-third of the control rotation. While this "linear operation" is "initially impressive." it should be noted that having all the gain "up front" in the first one-third turn is misleading and significantly reduces the amount of control latitude available. The pre gain control features an integral pull switch giving a boost to the high frequencies of approximately 8 dB. This pull switch enables significant "bril liance" to be added when desired. Experien ce has proven that added brilliance tends to detract somewhat from the smooth overload characteristics when playing in the distortion mode. POST GAIN (K) The post gain control determines the input sensitivity of the power amp. The action of this control is similar to that of a "master volume" control and can be used to control the overload dynamics of the preamp by decreasing the sensitivity of the power amp. The post gain control allows maximum gain and SATURATION’“ effects to be achieved in the preamp circuitry while maintaining relatively low power output levels necessary in studio or practice applications. The operation of this control is conventional and no operational difficulty should be encountered. EQUALIZATION The normal channel amp features the latest "active type" equali zation for unmatched tonal versatility and function. This active type EQ actually yields a true boost and cut capability as well as enabling the vital midrange EQ point to be shifted over a wide range. The high and low EQ circuits exhibit a shelving characteristic per professional practice, while the semi-parametric midrangecircuitry has a peak/notch response characteristic. Because these are "active" controls instead of the conventional "passive" or “losser" types, the overall control action is considerably more profound Since so much range is available, care must be taken not to overboost, which may cause you to run out of power (headroom), or to overcut, which may limit dynamic range. As with most reasonably complex systems, some degree of understanding combined with operatin...
Otros modelos de este manual:Instrumentos Musicales - Renown (1.5 mb)