User Manual

TION

(OWEVERTHEFOLLOWINGCIRCUMSTANCESWILLREQUIREYOUTOUSEEQUALIZATION
 4HESIGNALFROMYOURBASSISLACKINGOUTPUTLEVELINONEOFTHEFREQUENCYRANGESDESCRIBEDABOVE
 4HEROOMORVENUEYOUREPLAYINGINHASPOORACOUSTICSANDEXCITESACERTAINFREQUENCY &OREXAMPLEIFYOUREPLAYINGONAHOLLOWSTAGECERTAINLOWFREQUENCIESMAYSOUNDDISPROPORTIONATELYLOUDOROUT
 OFCONTROLANDYOUMAYNOTICETHATEVERYTIMEYOUPLAYACERTAINNOTEITSOUNDSMUCHLOUDERTHANALLTHEOTHERS)NTHESECASESTHEOFFENDINGFREQUENCYNEEDSTOBEIDENTIFIEDANDREDUCED
 9OURESEEKINGTOALTERTHEBASICSOUNDOFYOURINSTRUMENTINORDERTOACHIEVEAPARTICULARMUSICALEFFECT
%QUALIZATION SHOULD BE TREATED ASFINETUNING 3PEND SOME TIME LISTENING TO YOUR BASS THROUGH THE AMP WITH ALL THE %1 CONTROLS IN THE NEUTRAL  OCLOCK POSITION BEFORE YOU STARTCHANGING THE SETTINGS 9OURE LIKELY
TONEEDLITTLEORNOEQUALIZATION
(OWEVERIFANDWHENEQUALIZATIONISREQUIREDYOUWILLFINDTHISAMPS%1TOBEPOWERFULANDIMPRESSIVELYDETAILED
4HE,/7CONTROLISSETTOACENTERFREQUENCYOF(Z4HISMEANSTHATITEITHERBOOSTSORCUTSTHEVOLUMEOFTHEFREQUENCIESAROUND(ZTOAMAXIMUMOFDECIBELS
4HE-)$,/7AND-)$()'(CONTROLSARESEMIPARAMETRIC%1S4HISMEANSYOUHAVEMORESPECIFICCONTROLOVERWHATFREQUENCYYOUBOOSTORCUT4HEEXTERNALKNOBS-)$,/7&2%1AND-)$()'(
&2%1DETERMINETHECENTERFREQUENCYOFTHERANGETOBECONTROLLED4HECONCENTRICKNOBS-)$,/7,%6%,AND-)$()'(,%6%,DETERMINEHOWMUCHTHEFREQUENCYAREASELECTEDWILLBETURNEDUPOR
DOWNAGAINTOAMAXIMUMOFDECIBELS
4HE()'(CONTROLBOOSTSORCUTSTHEFREQUENCIESAROUNDK(ZBYASMUCHASDECIBELS
4HE1ONTHIS%1THERANGEOFFREQUENCYCONTROLLEDISQUITEWIDESPANNINGFROMABOUTK(ZTOABOUTK(Z
)FYOUNEEDTOREDUCEANOFFENSIVEFREQUENCYUSINGTHESEMIPARAMETRIC%1CONTROLSSTARTBYTURNINGTHE%1ShLEVELvKNOBCOUNTERCLOCKWISEUSUALLYTHISWILLBEINTHELOWMIDSTRYAROUNDTHEOROCLOCK
POSITION0LAYTHENOTEONYOURBASSTHATSOUNDSOUTOFCONTROL4HENGRADUALLYTURNTHE-)$,/7&2%1OR-)$()'(&2%1KNOBIFTHEFREQUENCYISHIGHERUNTILYOUNOTICETHEANNOYINGSOUNDGOAWAY
5NFORTUNATELYBADROOMACOUSTICSCANBEVERYHARDTOCOMPENSATEFORxBUTYOULLFINDTHATTHE%1ONTHISAMPLIFIERISDETAILEDANDPOWERFULENOUGHTHATYOUSHOULDBEABLETOFINETUNEYOURAMPTOSOUND
GREATANYWHERE
,).%/54
4HIS,).%/54KNOBCONTROLSTHEVOLUMELEVELOFTHEREAR,).%/548,2WHICHISCONNECTEDTOTHEMIXINGCONSOLEINLIVEORSTUDIOSITUATIONS
6,%AND60&&),4%23
-ARKBASS AMPLIFIERS FEATURE TWO MAGIC KNOBS THAT ALTER THE EQUALIZATION OF YOUR BASS SIGNAL WITH SPECIALLY FORMULATED MUSICAL RESULTS -OST PLAYERS USE THESE CONTROLS MORE THAN THE %1 SINCE THEY WERE DESIGNED
SPECIFICALLYTOMEETTHEPRACTICALNEEDSOFBASSISTS
4HE 6,%  6INTAGE ,OUDSPEAKER %MULATOR FILTERS OUT HIGH FREQUENCIES TO GIVE YOU A MELLOWER LESS MODERN SOUND !S YOU TURN THE KNOB CLOCKWISE YOU WILL FIND THAT A WIDER AND WIDER RANGE OF HIGH
FREQUENCIESGETSCUTSEEPAGEFORAGRAPHOFTHISFILTERSFUNCTION4HIS%1EFFECTISESPECIALLYUSEFULFORACOUSTICANDOLDERSTYLESOFMUSIC
4HE 60&6ARIABLE0RESHAPE &ILTERBOOSTSLOWSAROUND(ZANDHIGHSAROUNDK(ZANDCUTSMIDSAT(Z 4HISFILTERHASVERYPOWERFULUSESFORROCKMUSICANDISALSOAFAVORITEOFMANYSLAPBASS
PLAYERSSEEPAGEFORAGRAPHOFTHISFILTERSFUNCTION
7E RECOMMEND YOU START OFF WITH THESE FILTERS IN THE OFF POSITION AND DIAL THEM IN GRADUALLY TO DISCOVER WHAT EFFECT THEY HAVE %XPLORE THEM SEPARATELY FIRST BUT YOU MAY FIND THATUSING BOTH IN COMBINATION CAN
LEADTOSOMEVERY APPEALINGANDMUSICALRESULTS