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Resumen del manual
BEFORE USING THIS APPLIANCE. READ THE OPERATING GUIDE FOR FURTHER WARNINGS. FRONT PANEL CI I? # Gr >Q Z5 :i 13 C 0 □ Cir^ tJ ,y;i io a "J m □ - * ü E ü Säv^ l)‘J ill ä?s i y-^v : < ©.“3 ® a Bi £ C Ki ° © 5 ■HIGH GAIN INPUT (1) Used for most electric guitars. It is 6 dB louder than the Low Gain input. LOW GAIN INPUT (2) Provided for instruments that have extremely high outputs, which can result in overdriving (distorting) the High Gain input. If both inputs are used simultaneously, the output levels are the same (both are Low Gain). PRE GAIN (3) Controls the input volume level of the amplifier. ■POST GAIN (4) Controls the overall volume level of the amplifier. The final level adjustment should be made after the desired sound has been achieved. LOW, MID & HIGH EQ (5) Passive tone controls that regulate the low, mid and high frequencies respectively. RESPONSE MODIFICATIONS (6) ALL SWITCHES IN “OFF” POSITION This position yields a vintage “British-style” tube amp response which can be somewhat distorted (depending on Pre/Post Gain adjustment), but it is particularly nice for slightly distorted, punchy, yet distinct guitar sounds. GAIN #1 Activating this switch adds an additional stage of tube gain and increases the VTM’s capacity to overload at low volumes. This additional gain increases the harmonic content of the sound and is an excellent choice for the guitarist looking for a crisp sound with an intermediate amount of distortion which falls between "vintage” and “full-tilt crunch”. GAIN #2 Activating this switch opens the extra tube gain stage all the way to its voltage limits, and, as that statement indicates, maximum all-tube preamp distortion is obtained. This position yields the sound which lucky owners of custom hot-rodded tube amps have had, but owners of stock, out-of-the-box amps have previously heard only on hit records! Tremendous sustain and controllable harmonics at a level many players think impossible are immediately available. Excellent for today’s hottest metal stylization. COMP This switch activates a carefully integrated compression circuit. (This is one of the major “secrets” of the elite amp modifiers.) This circuit adds a tremendous amount of “smoothness” to the sound and further enhances sustain, without sacrificing bite or crunch. Thiscurcuit is the key to an incredibly liquid, warm tone that still screams. Full power chords ring clear and fat, single notes sing, and it seems the player only need think “feedback” and soaring harmonics cut the air like a hail of bullets. LOW 1 This circuit, like the remaining four switched circuits, begins the VTM’s ability to contour the overall amp EQ. The Low 1 switch adds a subtle amount of additional low end. It is strictly up to the individual preferences of the user as to the “correct” amount of bottom end that an amp of this type should have. However, it is to some degree dependent upon the guitar and speakerenclosure used. Properly used, this increased bottom can add punch and fullness to the sound. It must be repeated that this is not a “tone switch” in the normal sense of the word, but rather a true “component swap” which is accomplished via the switch. LOW 2 This circuit, like Low 1, adds additional low end but in a different place than Low 1. (A third low-end voicing is obtained by activating both Low 1 and Low 2.) Again, personal preference will dictate the "proper” low voicing. Please note that even with maximum low end (Low 1 and 2 on), muddiness has been scrupulously avoided. MID This circuit noticeably alters the critical mid-range voicing of the VTM by adding a pronounced mid peak centered in the “throaty" area. The two mid voicings available from the VTM (Mid On/Off) offer the two major variations most often heard in contemporary music. Mid On is somewhat more “punchy” and “percussive". Mid Off is somewhat more “cutting” and “crisp". HI 1 This circuit alters the high voicing of the VTM, and like all of the EQ "mods”, is a matter of personal preference as to which high EQ is “correct”. However, it is somewhat dependent upon the guitar and speaker enclosure used. The Hi 1 sounds like it adds “more” highs, but it actually works by slightly lowering the centering frequency of the active Presence control. This lowers the Presence control from the "extreme overtones” to the more typical range associated with highs and results in more “apparent highs”. HI 2 This control (when used in conjunction with Hi 1) further alters the high-end voicing of the VTM. The proper use of the two Hi controls is dependent upon many factors; however, the added "apparent highs” obtained by activating Hi 1 and Hi 2 are particularly useful in getting a bright sound out of high-output humbucking pickups. PRESENCE (7) An active tone control that boosts the extreme high frequencies by 6 dB. EFFECTS OUT (8) Output for supplying signals to external effects or signal processing equipment. EFFECTS RETURN (9) The...
Otros modelos de este manual:Instrumentos Musicales - VTM-60 (1.38 mb)
Instrumentos Musicales - VTM-120 (1.38 mb)
Instrumentos Musicales - VTM-120 (1.38 mb)