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Resumen del manual
Overboosting the presence can cause less than optimum results when using the string effect or when playing hard rock/distortion type material. Experimentation is, again, the key to success in fully realizing the potential of this versatile feature. POST GAIN CONTROL (13) This control determines the output level from the Session's« preamp, and its operation is similar to that of conventional "master volume controls." This control is used in conjunction with the pre gain control in order to maximize the signal-to-noise ratio for studio applications and for creating various overload dynamics. The overall signal-to-noise ratio can be improved by turning the post gain control to settings somewhere in the center of its rotation, combined with appropriate settings of the pre gain control (5). It should be noted that, while this mode of operation decreases residual amp noise, it also decreases the dynamic range of the input preamp. Operation in this manner is suggested for studio and moderate output level applications. Concert applications usually require close-to-maximum settings of the post gain control. Overload dynamics and distortion may be achieved by turning up the pre gain toward maximum settings while operating the post gain at lower settings. It should be noted that “distortion/overload” type effects can be achieved by the string effect with significantly more control and versatility than is possible by distorting the front end with the above described settings of the pre and post gain controls. Distortion normally should be achieved by the string effect feature. PHASE CIRCUITRY The new Session« 500 has an advanced phase circuit designed using the latest semiconductor devices. This advanced circuit features an extremely wide ranae of operation and actually allows some degree of regeneration or “positive feedback” to occur, thus greatly enhancing the phase effect. The action of this feature is conventional and should present no operational problems. NOTE: The phase rate control is equipped with an on/off switch which activates the phase circuitry. If this switch is off (full counterclockwise), the phase effect cannot be activated by the remote switch. PHASE COLOR CONTROL (14) The phase color control is the element which determines the amount of internal feedback that sets the level of the phasing effect. Very subtle changes may be heard in the counterclockwise position, while extremely deep phasing effects with the accompanying characteristic "swooshing” sounds are obtained at the extreme clockwise setting. Because of the unique action of this control, some degree of regeneration is introduced into the circuit in the extreme clockwise ("8" - “9” - "10”) positions; you will note the most effect in the last quarter turn. PHASE RATE CONTROL (15) The rate control determines the speed of the built-in phase oscillator. You will note that the speed is variable from extremely slow to extremely rapid and covers a far greater range than conventional phase or tremolo oscillators and, in fact, effectively covers the operational range of both types. Counterclockwise settings will produce an extremely slow speed with advancing speed as the rate control is rotated clockwise. Please note that the rate control features an integral switch which is cut off in the full counterclockwise position to allow the phase circuitry to cut completely out of the circuit from the front panel of the amp without the footswitch. Please note that the phase circuitry will not work, nor can it be controlled by the remote switch, if the circuit is cut off with the switch on the rate control which takes precedence over the remote footswitch. NOTE BECAUSE OF THE MODULATING ACTION OF THE PHASOR, IT IS A GOOD IDEA TO KEEP THE PHASE CIRCUIT TURNED OFF WHEN NOT IN USE, EITHER BY USE OF THE FOOTSWITCH OR WITH THE FRONT PANEL SWITCH ON THE RATE CONTROL. TO AVOID MODULATING THE RESIDUAL NOISE FROM THE INPUT PREAMP; I.E., TURN THE PHASOR OFF WHEN NOT IN USE. REVERB CONTROL (16) The Session« utilizes a unique reverb circuit featuring a current source drive wherein the Accutronics reverb unit is included in the overall feedback circuit for maximum frequency response and linearity. The reverb control determines the amount of delayed (reverb) signal mixed back into the output and its operation is conventional. In addition, the reverb level can be adjusted through the use of a remote volume control. The reverb may be activated or defeated through use of the remote switch. VARIABLE ELECTRONIC CROSSOVER CONTROL (17) The crossover control serves to set the crossover frequency of the built-in electronic crossover. We have included a variable electronic crossover in order to make bi-amplification possible. Because the Session® 500 has been designed for professionals who must perform for large concerts, the bi-amp capability enables this unit when used with external power and speaker systems to become a truly awesome performer. This capability, ...
Otros modelos de este manual:Instrumentos Musicales - Session 500 (2 mb)