MarkBass F 500 Owner's manual

Brand: MarkBass

Model: F 500

Category: Supplementary music equipment

Type: Owner's manual

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#ONGRATULATIONS ON PURCHASING ONE OF THE WORLDS BEST BASS AMPLIFIERS -ARKBASS AMPS ARE BUILT TO THE HIGHEST STANDARDS BY A SMALL TEAM OF SKILLED TECHNICIANS IN 3AN'IOVANNI

4EATINO)TALY

7E HAVE SPENT MANY YEARS RESEARCHING NOT ONLY THE HIGHESTQUALITY TECHNOLOGIES FOR BASS AMP DESIGN AND CONSTRUCTION BUT ALSO THE PRACTICAL NEEDS OF THE WORKING BASSIST

4HE END RESULT IS A PRODUCT THAT COMBINES OUTSTANDING SOUND QUALITY WITH INTUITIVE FEATURES ATTRACTIVE DESIGN AND EXTREME RELIABILITYALL IN ONE IMPOSSIBLY LIGHTWEIGHT UNIT

4HISAMPWILLALLOWYOURINSTRUMENTTOSPEAKINITSNATURALVOICEFAITHFULLYCONVEYINGYOURMUSICALIDEASTOYOURAUDIENCEWITHSTUNNINGCLARITY

9OUR AMPLIFIER HAS PASSED RIGOROUS PRODUCT TESTING AND SHOULD SURVIVE EVEN THE TOUGHEST OF ENVIRONMENTS ON THE ROAD IN CLUBS REHEARSAL HALLS AND CONCERT STAGES

.ONETHELESS

PLEASETREATITWITHCAREANDYOUWILLBEREWARDEDWITHMANYMANYYEARSOFGLORIOUSRICHPOWERFULBASSTONE

)FTHECLARITYANDPOWEROFTHISAMPINSPIREYOUTOPLAYBETTERMUSICWEWILLHAVESUCCEEDEDINOURMISSION'OODLUCKANDENJOYYOURNEWBESTFRIEND

               3INCERELY-ARKBASS

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7HEN ) BEGAN TO DEVELOP THE -ARKBASS CONCEPT IN )TALY SEVERAL YEARS AGO ) HAD ONE OBJECTIVE IN MIND TO PRODUCE A TOPQUALITY BASS AMP THAT WOULD MEET THE NEEDSOF

PROFESSIONAL BASSPLAYERS EVERYWHERE ) WANTED MY AMPS TO BE COMPACT AND LIGHTWEIGHT YET ABLE TO HANDLE THE LOW FREQUENCIES THAT TODAYS FOUR FIVE AND SIX STRINGPASSIVE AND

ACTIVE BASSES ARE CAPABLE OF PRODUCING 4HANKS TO MODERN TECHNOLOGY AND THE AVAILABILITY OF HIGHQUALITY COMPONENTS LIKE LOWPROFILE TOROIDAL TRANSFORMERSNEODYMIUM

SPEAKERSANDSOON)WASABLETOACCOMPLISHTHIS

4HE -ARKBASS AMPLIFIER CIRCUITRY IS DESIGNED SPECIFICALLY NOT TO COLOR THE SOUND OF THE BASS BUT TO FAITHFULLY REPRODUCE THE UNIQUE TONAL QUALITIES OF WHATEVER INSTRUMENTIS

PLAYEDTHROUGHIT )HAVEWORKEDVERY CLOSELYWITHMANYHIGHPROFILEPROFESSIONALBASSPLAYERSAROUNDTHEWORLDTOFINETUNETHE-ARKBASSPRODUCTLINE

)AMCONFIDENTTHATTHE-ARKBASSLINEOFAMPSANDCABINETSISNOWREADYTOSATISFYTHENEEDSOFBASSPLAYERSALLOVERTHEWORLD

4HANKSFORCHOOSING-ARKBASS)HOPEYOUWILLFINDYOURNEWAMPTOBEANINSPIRINGUPGRADETOYOURSOUND

7E ENCOURAGE YOU TO USE YOUR -ARKBASS GEAR IN ALL KINDS OF MUSICAL SITUATIONS

AND PLEASE HELP US TO CONTINUE DEVELOPING OUR PRODUCTS BY SENDING YOUR COMMENTS

TOINFO MARKBASSIT

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WIDE RANGE OF FREQUENCIESFROM EXTREMELY LOW FREQUENCIES THAT ARE MORE FELT THAN HEARD TO EXTREMELY HIGH FREQUENCIES THAT PASS THROUGH YOUR CABINETS TWEETER AND ARE BARELY AUDIBLE TO THE HUMAN EAR !S YOU

EXPERIMENTWITHYOUR%1SETTINGSYOUWILLNOTICETHATALLTHEDIFFERENTFREQUENCYRANGESPLAYESSENTIALROLESINMAKINGUPYOURBASSTONE

,/7FREQUENCIESCONSTITUTEMUSICSSONICFOUNDATIONTHEYGIVEPOWERTOYOURSOUNDPHYSICALLYRESONATINGYOURLISTENERSBODIESANDYOURSSOMETIMESEVENCAUSINGPEOPLETOMOVEANDDANCE

,/7-)$Sh-)$,/7vOR-ID&REQUENCY,OWMAKEYOURBASSSOUNDLOUDPROJECTINGTHESOUNDOVERLONGDISTANCEShFILLINGTHEROOMv

()'( -)$S h-)$ ()'(v OR -ID &REQUENCY (IGH CONVEY THE PITCH OF THE NOTES THAT YOU PLAY #LARITY OF THIS RANGE ENSURES THAT THE MELODIES IN YOUR BASS LINES ARE HEARD )F DETAIL ISMISSING IN THIS RANGE YOUR MELODIC

CONTRIBUTIONTOTHEMUSICWILLSUFFER

()'( FREQUENCIES CARRY THE PERCUSSIVE CONTENT OF YOUR PLAYINGTHE ATTACK OF YOUR NOTES THE SOUND OF YOUR FINGER OR PICK PASSING OVER THE STRING FRET NOISE AND IN THE CASE OF SLAPBASS THE hTICKv NOISEPRODUCED

WHENTHESTRINGSBOUNCEOFFTHEFRETS

)F ANY ONE OF THESE FREQUENCY RANGES IS NEGLECTED OR POORLY REPRESENTED BY YOUR AMP YOU ARE NOT HEARING AN ACCURATE REPRESENTATION OF THE SOUND THAT YOUR BASS IS GENERATING 3INCETHESE AMPS HAS BEEN DESIGNED

TOGIVEYOUCLEARDETAILEDANDMUSICALSOUNDATALLFREQUENCIESWHENTHEAMPISSET hFLATvWITHALL%1KNOBSATOCLOCKYOUSHOULDHEARAVERYTRUEMIRROROFTHESOUNDOFYOURBASS

(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 lNE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%1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-)$-)$,/7%1CONTROLBOOSTSORCUTSTHEFREQUENCIESAROUND(ZBYASMUCHASDECIBELS

4HE()'(-)$-)$()'(%1CONTROLBOOSTSORCUTSTHEFREQUENCIESAROUND(ZBYASMUCHASDECIBELS

4HE()'(%1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

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 lLTER 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

!GAIN WE 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

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4HESE AMPLIFLIERS CAN BE CONNECTED TO ONE OR TWO SPEAKER CABINETS 4HE HIGHQUALITY .EUTRIK 30%!+/. #/-"/ JACK  ACCEPTS EITHER A 30%!+/. OR A bv SPEAKER CABLE AND THE SECONDSPEAKER *!#+  ACCEPTS

ONLY bv CABLES $O NOT USE INSTRUMENT CABLES 4HE ,ITTLE -ARK )) AND #OMBO (EAD DELIVERS 7 OF POWER INTO AN  OHM CABINET OR 7 INTO A  OHM CABINET "Y DEFAULT THE #OMBO (EAD IS CONNECTED TO THE SPEAKER

CABINET HOUSED IN THE COMBO (OWEVER YOU CAN EITHER CONNECT THE HEAD TO A SEPARATE EXTERNAL CABINET UNPLUG THE bv CABLE FROM THESPEAKER OUT JACK AND REPLACE IT BY A SPEAKER CABLE THAT YOU CONNECT TO THE

EXTERNALCABINETORYOUCANUSEBOTHTHEINTERNALCABINETANDANEXTERNALCABINETBYUSINGBOTHSPEAKERJACKS

4HE,ITTLE-ARKDELIVERS7OFPOWERINTOANOHMCABINETOR7INTOAOHMCABINET

,).%/54

4HIS BALANCED 8,2  OUTPUT SENDS A BALANCED SIGNAL TO THE MIXING CONSOLE OR SNAKE IN LIVE AND STUDIO SITUATIONS 4HE LINE OUT SIGNAL IS POST%1 AND POSTFILTERS WHICH MEANS THAT THE SIGNAL THATYOUSEND TO THE

SOUNDENGINEERISAFFECTEDBYYOUR%1ANDFILTERSETTINGSBUTCANBEEASILYMODIFIEDBYAQUALIFIEDTECHNICIANTOBEPRE%1IFDESIRED

'2/5.$,)&4

/CCASIONALLY WHEN YOURE PLAYING LIVE AND USING THE ,).% /54  THE SOUNDMAN WILL DETECT A HUM FROM YOUR AMPS SIGNAL 4HIS IS ALMOST ALWAYS DUE TO A GROUNDING PROBLEM RELATED TO YOUR POWERSOURCE YOU WILL

LIKELYELIMINATETHISHUMSIMPLYBYFLIPPINGTHE'2/5.$,)&4SWITCH

45.%2/54

4HE 45.%2 /54  IS AN UNBALANCED SIGNAL THAT CAN BE SENT TO A TUNER ALLOWING YOU TO TUNE AS YOU PLAY WITHOUT PASSING YOUR SIGNAL THROUGH PEDALS WHICH CAN DEGRADE THE QUALITY OF YOUR SIGNAL

9OU CAN ALSO USETHISOUTPUTTOSENDYOURSIGNALONTOANOTHERAMPORANYKINDOFRECORDINGUNITTHATDOESNTREQUIREABALANCEDSIGNAL

%&&%#43%.$!.$2%452.

)F YOU USE EFFECT PEDALS OR RACK GEAR YOU CAN ROUTE THEM THROUGH THE 3%.$ %&&%#4  AND 2%452. %&&%#4  ON THE REAR PANEL OF THE AMP 4HE EFFECTS LOOP IS WIRED IN PARALLELTHIS MEANSTHAT IF SOMETHING

HAPPENS TO YOUR EFFECTS CHAIN A BATTERY DIES OR A CABLE GIVES OUT FOR EXAMPLE WHILE YOURE PLAYING YOU WILL NOT LOSE YOUR MAIN SIGNAL )F DESIRED HOWEVER THE EFFECTS LOOP CAN BE EASILY MODIFIED BY AUTHORIZED

SERVICEPERSONNELTOOPERATEINSERIES

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#ABINET)MPEDANCE    Ʈ  Ʈ  Ʈ  Ʈ  Ʈ  Ʈ

2EFLEX     2EAR  2EAR  2EAR  2EAR  2EAR  2EAR

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7IDHTINCHES              

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(EIGHTINCHES              

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0REAMP     3OLIDSTATE  3OLIDSTATE  3OLIDSTATE  3OLIDSTATE  3OLIDSTATE  3OLIDSTATE

0OWER !MP7 Ʈ 7 Ʈ  !NALOG  !NALOG  !NALOG  !NALOG  !NALOG  !NALOG

0OWER3UPPLY    !LLMODELSAREEQUIPPEDWITHCUSTOMDESIGNED-ARKBASSDIGITALPOWERSUPPLIES

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,-+02/$5#4/6%26)%7

4HE-ARKBASS,-+ISAHIGHQUALITYTWOCHANNELBASSAMPLIFIERWITHASOLIDSTATEPREAMPANDANANALOGPOWERAMPWHICHDELIVERS7OFPOWERINTOAOHMCABINETOR7INTOANOHMCABINET

,-+&2/.40!.%,

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4HE ,-+S UNIQUE TWOCHANNEL DESIGN ENABLES YOU TO USE EITHER TWO DIFFERENT BASSES EACH WITH ITS OWN CHANNEL OR TWO DIFFERENT CHANNELS FOR ONE BASS "OTH INPUT JACKS CAN BE USED FOR BOTH PASSIVE ANDACTIVE BASSES

7HENUSINGONEBASSPLUGITINTO)NPUT !-ASTER5SINGTHECHANNELSWITCHORTHEFOOTSWITCHYOUWILLBEABLETOCHOOSEWHICHCHANNELANDCORRESPONDINGLEVEL%1ANDFILTERSETTINGSYOURUNITTHROUGH

7HEN USING TWO BASSES PLUG ONE INTO EACH INPUTTHE BASS IN )NPUT !  WILL AUTOMATICALLY RUN THROUGH #HANNEL  AND THE BASS IN )NPUT "  WILL AUTOMATICALLY RUN THROUGH #HANNEL  4HIS IS A VERY PRACTICAL SOLUTION

FORBASSISTSWHOSWITCHOFTENBETWEENTWOVERYDIFFERENTBASSESFOREXAMPLEANACOUSTICANDANELECTRIC

#(!..%,37)4#(

7HEN ONE BASS IS PLUGGED INTO THE ,-+ THE CHANNEL SWITCH ALLOWS YOU TO CHOOSE WHETHER YOUR SIGNAL IS ROUTED THROUGH #HANNEL  #HANNEL  OR BOTH hMIXv )F TWO BASSES ARE PLUGGED IN THIS SWITCH ALLOWS YOU

TO EFFECTIVELY MUTE THE UNUSED BASS OR IF YOU CAN PLAY BOTH BASSES AT ONCE SIMPLY SET THE 37)4#(  TO hMIXv "LUE INDICATOR ,%$S #(  AND #(  ON THE RIGHT SIDE OF THE FRONT PANEL ILLUMINATE TO SHOW

WHICHCHANNELISBEINGUSED 7HENTHEFOOTSWITCHISPLUGGEDINTOTHEREARPANELTHENFRONTPANELCHANNELSWITCHISDISABLED

,%6%,,%6%,AND-!34%2

4HERE ARE THREE KNOBS

ON THE FRONT PANEL OF THE ,-+ THAT CONTROL VOLUME ,%6%,   IS THE GAIN CONTROL FOR ).054 !  ,%6%,   IS THE GAIN CONTROL FOR ).054 "  AND THE -!34%2  CONTROL IS THEOVERALL OUTPUT

VOLUME OF THE AMP

4HE ,%6%,   GAIN CONTROLS DETERMINE HOW MUCH SIGNAL IS PASSED THROUGH THE PREAMP STAGE OF THE UNIT WHICH INCLUDES EQUALIZATION AND THE EFFECTS LOOP 4HE -!34%2  VOLUME REGULATESHOWMUCH OUTPUT

COMES OUT OF THE POWER AMP INTO YOUR CABINET )F PLAYING THROUGH THE AMP CAUSES THE BLUEh#,)0v  LIGHT TO TURN ON AT ALL YOU SHOULD TURN DOWN THE ,%6%, CONTROL OF THE CHANNEL BEING USEDOTHERWISE YOUR

SIGNAL MAY DISTORT 7HEN YOU FIRST PLUG INTO THE AMP START WITH THE ,%6%,   AND -!34%2  CONTROLS SET AT THEIR LOWEST LEVELS IN OTHER WORDS TURNED ALL THE WAY COUNTERCLOCKWISE 4HEN TURNYOUR INSTRUMENTS

VOLUME UP TO ITS FULL LEVEL AND PLAY AS HARD AS YOU DO IN YOUR MOST AGGRESSIVE MOMENTS AND TURN UP THE ,%6%, CONTROL UNTIL THE BLUE LIGHT STARTS ILLUMINATING

.EXT BACK OFF ON THE ,%6%, JUST ENOUGHSO THAT THE LIGHT STAYS OFF AS YOU PLAY 4HIS METHOD WILL RESULT IN THE OPTIMAL GAIN SETTING FOR THE BASS YOURE PLAYING $IFFERENT BASSES HAVE DIFFERENT OUTPUT LEVELS MOSTLY

DEPENDING ON THEIR PICKUPSAND INTHE CASEOFACTIVEBASSESTHEINSTRUMENTSONBOARDPREAMPAND%1SETTINGS/NCEYOUVESETTHE,%6%,CONTROLSSOTHATTHEVOLUMESOFYOURTWOBASSESAREEVENUSEYOUR

-!34%2KNOBTOCONTROLTHEOVERALLVOLUME

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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

%15!,):!4)/.

EXPERIMENTWITHYOUR%1SETTINGSYOUWILLNOTICETHATALLTHEDIFFERENTFREQUENCYRANGESPLAYESSENTIALROLESINMAKINGUPYOURBASSTONE

,/7-)$Sh-)$,/7vOR-ID&REQUENCY,OWMAKEYOURBASSSOUNDLOUDPROJECTINGTHESOUNDOVERLONGDISTANCEShFILLINGTHEROOMv

CONTRIBUTIONTOTHEMUSICWILLSUFFER

WHENTHESTRINGSBOUNCEOFFTHEFRETS

CIRCUMSTANCESWILLREQUIREYOUTOUSEEQUALIZATION

 4HESIGNALFROMYOURBASSISLACKINGOUTPUTLEVELINONEOFTHEFREQUENCYRANGESDESCRIBEDABOVE

 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

4HE,/7-)$-)$,/7%1CONTROLBOOSTSORCUTSTHEFREQUENCIESAROUND(ZBYASMUCHASDECIBELS

4HE()'(-)$-)$()'(%1CONTROLBOOSTSORCUTSTHEFREQUENCIESAROUND(ZBYASMUCHASDECIBELS

6,%AND60&&),4%23

4HE ,-+ AMPLIFIER FEATURES 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 !GAIN WE 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.OTETHAT#HANNELFEATURESBOTHTHE 6,%AND 60&FILTERSWHEREAS#HANNEL

ONLYINCLUDESTHE 60&

YOU

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4HE ,-+ CAN BE CONNECTED TO ONE OR TWO SPEAKER CABINETS 4HE HIGHQUALITY .EUTRIK 30%!+/. #/-"/ JACK ACCEPTS EITHER A SPEAKON  OR A bv SPEAKER CABLE AND THE SECOND 30%!+%2 *!#+ ACCEPTS ONLYbv

CABLES$ONOTUSEINSTRUMENTCABLES4HE,-+DELIVERS7OFPOWERINTOANOHMCABINETOR7INTOAOHMCABINET

.OTETHATTHISISATWOCHANNELAMPBUTITISNOTA hSTEREOvAMPTHEREARENOTTWODISCRETEOUTPUTSFOREACHCHANNELINPUT)FYOUCONNECTTWOSPEAKERCABINETSTHEYWILLEACHRECEIVETHESAMESIGNAL

,).%/54

4HE BALANCED 8,2  OUTPUT ALLOWS YOU TO CONNECT YOUR AMPLIFIER DIRECTLY TO A MIXING CONSOLE EITHER IN LIVE SITUATIONS OR IN A RECORDING STUDIO WITHOUT THE NEED OF A $) BOX 3IMPLY CONNECT A STANDARD8,2 CABLE

FROM THIS OUTPUT TO THE SOUNDBOARDMIXING CONSOLE OR A SNAKE CONNECTED TO THE BOARDCONSOLE )F THE SOUNDMANENGINEER NEEDS MORE OR LESS SIGNAL FROM YOU SIMPLY TURN THE FRONT PANEL ,).%/54  CONTROL UP

ORDOWNASNECESSARY4HELINEOUTSIGNALISPOST%1ANDPOSTFILTERSWHICHMEANSTHATTHESIGNALTHATYOUSENDTOTHESOUNDENGINEERISAFFECTEDBYYOUR%1ANDFILTERSETTINGS

'2/5.$,)&4

/CCASIONALLY WHEN YOURE PLAYING LIVE AND USING THE ,).% /54  THE SOUNDMAN WILL DETECT A HUM FROM YOUR AMPS SIGNAL 4HIS IS ALMOST ALWAYS DUE TO A GROUNDING PROBLEM RELATED TO YOUR POWER SOURCE YOU WILL

LIKELYELIMINATETHISHUMSIMPLYBYFLIPPINGTHE'2/5.$,)&4SWITCH

45.%2/54

4HE 45.%2 /54 

AN UNBALANCED SIGNAL THAT CAN BE SENT TO A TUNER ALLOWING YOU TO TUNE AS YOU PLAY WITHOUT PASSING YOUR SIGNAL THROUGH PEDALS WHICH CAN DEGRADE THE QUALITY OF YOUR SIGNAL 9OU CAN ALSO USE

THISOUTPUTTOSENDYOURSIGNALONTOANOTHERAMPORANYKINDOFRECORDINGUNITTHATDOESNTREQUIREABALANCEDSIGNAL

%&&%#43%.$!.$2%452.

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9OU CAN ALSO USETHISOUTPUTTOSENDYOURSIGNALONTOANOTHERAMPORANYKINDOFRECORDINGUNITTHATDOESNTREQUIREABALANCEDSIGNAL

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)F YOU USE EFFECT PEDALS OR RACK GEAR YOU CAN ROUTE THEM THROUGH THE 3%.$ %&&%#4  AND 2%452. %&&%#4  ON THE REAR PANEL OF THE AMP 4HE EFFECTS LOOP IS WIRED IN PARALLELTHIS MEANS THAT IF SOMETHING

HAPPENS TO YOUR EFFECTS CHAIN A BATTERY

DIES OR A CABLE GIVES OUT FOR EXAMPLE WHILE YOURE PLAYING YOU WILL NOT LOSE YOUR MAIN SIGNAL )F DESIRED HOWEVER THE EFFECTS LOOP CAN BE EASILY MODIFIED BY AUTHORIZED

SERVICEPERSONNELTOOPERATEINSERIES