Bass Gear Issue 7 : Page 33should be thought of as appearing first in the chain of processing. The Gain and tone controls follow the compressor circuit. A compression control is provided to set the amount of signal compression, from no compression (fully counterclockwise) to 10:1 compression at the fully clockwise position. A threshold light illuminates to tell you when the signal has crossed the compression threshold. The signal is processed by the Gain control and tone controls (Bass, Mid, Treble, Ultra Hi, Ultra Lo) in the same block. From the tone controls, the signal is passed to the effects loop. As such, the effects loop will always process the equalized, gain-adjusted and compressed (when used) tone. The signal from the effects loop feeds the Master control to the Preamp Out/Power Amp In controls. The Power Amp In feeds the class-D power amplifier section. The DI offers two options. The DI can take a pre-EQ signal, which is tapped before the compressor but after the first tube stage. As an alternative, the user can select post, which is taken right after the effects loop. The Tone Stack There are a lot of options with this tone stack, so let’s just jump in. With the Ultra Hi and Ultra Lo switches disengaged, and all controls set to noon, the full range 20Hz-20kHz frequency response shows a familiar mid scoop, slight bass emphasis and gentle treble roll off ( Fig. D ) with an overall deviation of +/-10dB. Subjecting the amp to our “optimally flat” passband test of 80Hz to 8kHz, yielded an optimally flat response of +/-Fig. G Fig. H Fig. J Fig. I %&& !$%#  Publication List Using a screen reader? Click Here |
