MarkBass F 500 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
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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
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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
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 /NLYUSEATTACHMENTSACCESSORIESSPECIFIEDBYTHEMANUFACTURER
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 3UIVRETOUSLESCONSEILSDUTILISATIONS
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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 $O NOT USE INSTRUMENT CABLES 4HE ,ITTLE -ARK )) AND #OMBO (EAD DELIVERS 7 OF POWER INTO AN OHM CABINET OR 7 INTO A OHM CABINET "Y DEFAULT THE #OMBO (EAD IS CONNECTED TO THE SPEAKER
CABINET HOUSED IN THE COMBO (OWEVER YOU CAN EITHER CONNECT THE HEAD TO A SEPARATE EXTERNAL CABINET UNPLUG THE bv CABLE FROM THESPEAKER OUT JACK AND REPLACE IT BY A SPEAKER CABLE THAT YOU CONNECT TO THE
EXTERNALCABINETORYOUCANUSEBOTHTHEINTERNALCABINETANDANEXTERNALCABINETBYUSINGBOTHSPEAKERJACKS
4HE,ITTLE-ARKDELIVERS7OFPOWERINTOANOHMCABINETOR7INTOAOHMCABINET
,).%/54
4HIS BALANCED 8,2  OUTPUT SENDS A BALANCED SIGNAL TO THE MIXING CONSOLE OR SNAKE IN LIVE AND STUDIO SITUATIONS 4HE LINE OUT SIGNAL IS POST%1 AND POSTFILTERS WHICH MEANS THAT THE SIGNAL THATYOUSEND TO THE
SOUNDENGINEERISAFFECTEDBYYOUR%1ANDFILTERSETTINGSBUTCANBEEASILYMODIFIEDBYAQUALIFIEDTECHNICIANTOBEPRE%1IFDESIRED
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/CCASIONALLY WHEN YOURE PLAYING LIVE AND USING THE ,).% /54  THE SOUNDMAN WILL DETECT A HUM FROM YOUR AMPS SIGNAL 4HIS IS ALMOST ALWAYS DUE TO A GROUNDING PROBLEM RELATED TO YOUR POWERSOURCE YOU WILL
LIKELYELIMINATETHISHUMSIMPLYBYFLIPPINGTHE'2/5.$,)&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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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 $IFFERENT BASSES HAVE DIFFERENT OUTPUT LEVELS MOSTLY
DEPENDING ON THEIR PICKUPSAND INTHE CASEOFACTIVEBASSESTHEINSTRUMENTSONBOARDPREAMPAND%1SETTINGS/NCEYOUVESETTHE,%6%,CONTROLSSOTHATTHEVOLUMESOFYOURTWOBASSESAREEVENUSEYOUR
-!34%2KNOBTOCONTROLTHEOVERALLVOLUME

,).%/54
4HIS,).%/54KNOBCONTROLSTHEVOLUMELEVELOFTHEREAR,).%/548,2WHICHISCONNECTEDTOTHEMIXINGCONSOLEINLIVEORSTUDIOSITUATIONS
%15!,):!4)/.
-ARKBASS AMPS ARE DESIGNED TO FAITHFULLY REPRODUCE THE NATURAL SOUND OF YOUR BASS )F YOU HAVE A GOOD INSTRUMENT VERY LITTLE EQUALIZATION %1IF ANYSHOULD BE REQUIRED "ASS GUITARS PRODUCE A SURPRISINGLY
WIDE RANGE OF FREQUENCIESFROM EXTREMELY LOW FREQUENCIES THAT ARE MORE FELT THAN HEARD TO EXTREMELY HIGH FREQUENCIES THAT PASS THROUGH YOUR CABINETS TWEETER AND ARE BARELY AUDIBLE TO THE HUMAN EAR !S YOU
EXPERIMENTWITHYOUR%1SETTINGSYOUWILLNOTICETHATALLTHEDIFFERENTFREQUENCYRANGESPLAYESSENTIALROLESINMAKINGUPYOURBASSTONE
,/7FREQUENCIESCONSTITUTEMUSICSSONICFOUNDATIONTHEYGIVEPOWERTOYOURSOUNDPHYSICALLYRESONATINGYOURLISTENERSBODIESANDYOURSSOMETIMESEVENCAUSINGPEOPLETOMOVEANDDANCE
,/7-)$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á
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DISPROPORTIONATELY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%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
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

,-+2%!20!.%,
30%!+%2/54
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.$,)&4SWITCH
45.%2/54
4HE 45.%2 /54 
IS
AN UNBALANCED SIGNAL THAT CAN BE SENT TO A TUNER ALLOWING YOU TO TUNE AS YOU PLAY WITHOUT PASSING YOUR SIGNAL THROUGH PEDALS WHICH CAN DEGRADE THE QUALITY OF YOUR SIGNAL 9OU CAN ALSO USE
THISOUTPUTTOSENDYOURSIGNALONTOANOTHERAMPORANYKINDOFRECORDINGUNITTHATDOESNTREQUIREABALANCEDSIGNAL
%&&%#43%.$!.$2%452.
)F YOU USE EFFECT PEDALS OR RACK GEAR YOU CAN ROUTE THEM THROUGH THE 3%.$ %&&%#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
)MPORTANT.OTE 4HEEFFECTSLOOPAPPLIESONLYTOCHANNELANDDOESNOTALTERTHECHANNELSIGNAL
&//437)4#(
4HE ,-+S OPTIONAL &//437)4#( ALLOWS YOU TO HAVE FULL CONTROL OVER CHANNEL SELECTION SEE h#(!..%, 37)4#(v  IN FRONT PANEL SECTION %ACH SWITCH IS AN ONOFF SWITCH #HANNEL ONOFF AND #HANNEL ONOFF
4O SWITCH CHANNELS WITH ONE CLICK ASSUMING YOUVE TURNED ONE CHANNEL ON AND THE OTHER OFF STEP ON BOTH BUTTONS SIMULTANEOUSLY +EEP AN EYE ON THE FRONT PANEL h#(v  AND h#(v  ,%$S TO MAKE SURE YOU
HAVETHERIGHTCHANNELSELECTED7HENBOTHCHANNELSARETURNEDOFFYOURSIGNALWILLSTILLPASSTOYOURTUNERSHOULDYOUHAVEONEPLUGGEDINTOTHEREARPANEL

,-+ 4%#(.)#!,$%4!),3
).0543
).054 !-!34%2 IMPEDANCE+OHMMAXVOLTAGE 6PP
).054" IMPEDANCE+OHMMAXVOLTAGE 6PP
2%452.%&&%#4 IMPEDANCE+OHMMAXVOLTAGE 6PP
#/.42/,3
,%6%,'AIN#( nD"TOD"RANGE
,%6%,'AIN#( nD"TOD"RANGE
,).%/54 LEVELCONTROLONFRONTPANEL
'2/5.$,)&4 SWITCHONREARPANEL
-!34%2 6/,5-%
%15!,):!4)/.#(
,/7 CENTERFREQUENCY(ZLEVEL¼D"
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