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Фрагмент инструкции
MIDDLE HIGH AND PRESENCE CONTROLS ARE PLACED AT THEIR 12 O'CLOCK OR ZERO POSITIONS. THERE WILL BE CORRESPONDINGLY LITTLE EFFECT ON THE INSTRUMENT S SIGNAL AND THE CONTROLS LABELED SHIFT AND BANDWIDTH WILL HAVE NO EFFECT BECAUSE THE MIDDLE HAS BEEN SET “FLAT". The Presence Control The presence control should be used to adjust the extreme high end (treble) of the bass guitar or keyboard signal. For less high end response rotate the presence control counterclockwise (0 to-12dB) until achieving GAIN—, T ,- EQUALIZATION -1 T CBOSSQVEO T PATCH Bl (3 Si _o Zp th ujlt- ttto o « ru " n O O uO M 0* 0^1 9 § C c the desired high end rolloff. To boost high end response of the preamp, rotate the control clockwise (0 to +12 dB). The boost portions of this control are very effective for adding an edge to contemporary "neck slapping" and "string popping” techniques employed by bassists or for accentuating the high end of electronic keyboards. (See tone setting charts for further examples.) The High Control The high control is similar in operation to the presence control but is placed at a lower frequency point. As with the presence control, less high end response is obtained through counterclockwise rotation (0 to -15 dB) while increased treble response occurs in the ranges from 0 to +15 dB. (See the tone setting charts for further examples.) The Mid, Shift and Bandwidth Controls (Parametric Equalizer) The mid, shift and bandwidth controls together determine the tonal response of the vital mid-band region. We choose to use the word vital to describe the mid frequencies because proper use of this frequency region can and does make the difference between a good sound and a great one. Thorough experimentation with these controls will rapidly demonstrate the versatility and effectiveness they will have on your overall sound. The mid control is the element which will determine how much of the mid frequency range will be added (boost) or subtracted (cut). As with the other active controls, boost of the mids is obtained from 0 through +15 dB while cut is available from 0 through -15 dB. The shift control allows the musician to determine where the cut and boost of the mid control will operate. The shift controls allow total control of the entire mid-band region from the low mids (150 Hz) to the upper mids (1.5 kHz). To further aoiust the mid-band region, the bandwidth control can be used to create a peak sound in the mids by gradually rotating the control counterclockwise to the sharp position. By rotating the bandwidth control clockwise (broad) the mids begin to gradually sound warmer and fatter as they are spread across a wider portion of the mid-band spectrum. To get a better idea of how the mid. shift and bandwidth controls operate, do the following experiment: 1. Plug the instrument into the high or low gain jacks. 2. Rotate the pre gain control to #2 or #3 (Pull Bright switch in). 3. Rotate the post gain control between #5 and #8 (Pull Punch in) 4 Place the low and high equalization controls at 0 (zero). 5. Place the mid control somewhere above (+) its zero position. 6. Play the open first (G) string on the bass (or strike a note somewhere in the middle of the keyboard) and allow it to sustain. 7 As the note sustains, manually sweep the shift and bandwidth controls. Note the wide differences in tonality which can be achieved with these 3 controls. Again, after you spend time with these three important controls you will develop understanding of their operation. The Low Control The low control determines the low end (bass) response of the TNT'“ 130 . The low control is active and is capable of adding or subtracting the desired amount of low end. Boost is obtained from Oto +15 dB and cut is available from 0 to -15 dB. NOTE: ALTHOUGH THE LOW CONTROL SHOULD PRESENT NO PROBLEM IN OPERATION. IT SHOULD BE NOTED THAT OVERBOOSTING OF THE LOW CONTROL MAY CAUSE THE TNTT" 130’s DDT“ COMPRESSION LED TO ACTIVATE PREMATURELY—EVEN AT LOW VOLUME LEVELS. USUALLY, THIS OCCURRENCE CAN BE CORRECTED BY CUTTING THE AMOUNT OF LOWS UNTIL THE DDT" LED ACTIVATES PERIODICALLY. The Gain Section Post Gain Control In normal use. the post gain control should be operated above the 12 o’clock or #5 position. To obtain maximum power, rotate the control fully clockwise to **10 NOTE: WITH THE POST GAIN CONTROL AT ITS #10 POSITION THE PRE GAIN CONTROL SHOULD NOT BE OPERATED ABOVE ITS 12 O’CLOCK OR #5 POSITION TO AVOID UNWANTED DISTORTION. WHILE UTILIZING MAXIMUM POWER AND EXTREME HIGH END BOOST IN THE EO SECTION, YOU MAY FIND IT NECESSARY TO BACK DOWN (CUT) THE POST GAIN CONTROL TO APPROXIMATELY ITS #8 POSITION TO AVOID ANY UNWANTED RESIDUAL NOISE The post gain control utilizes an integral pull switch called "punch". When activated, punch adds a 6 dB boost at 120 Hz and adds dramatically and effectively to the low end response and projection capabilities of the TNT- 130. Pre Gain Control The pre gain control is the first v...
Эта инструкция также подходит к моделям:Музыкальные инструменты - TNT 130 (913.36 kb)