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This unique circuit enables the operating point of the PARAMID™control to be placed precisely to allow duplication or creation of almost any midrange tonality. Operation of the frequency shift control (I) causes the state variable EQ filter circuitry to sweep across the midfrequency band, enabling boost or cut at any point in the midrange. Very few instrument amplifiers have incorporated this advanced type EQ circuitry because of its more complex design and higher construction costs. We felt that the new Century should embody the latest advances in audio equalization as exemplified by this parametric middle circuitry and have included it for your satisfaction. HIGH EQ CONTROL The high EQ control (J) determines the overall balance of high frequencies in the Century’s response. Its action is similar to that of the low frequency control except for its high frequency effect. High end boost is obtained in clockwise positions while cut is obtained in countercolckwise positions. Flat settings result from vertical (12:00 o’clock) settings. NOTES ON EQUALIZATION There is no “perfect” EQ setting that will satisfy everyone. Each instrument, speaker system, etc., has its own response characteristics which must be considered in the final EQ settings. The type of music being played, and the levels being required are also quite important. For example: For playing hard rock guitar, it has been found that moderate low boost or sometimes cut combined with middle boost and moderate high boost produce the best results. Most amps which have earned respect for rock guitar exhibit limited low end response, a nice fat (boosted) midrange, and a slightly boosted high end response. Totally different settings are recommended for clean playing such as jazz, country, or gospel music. In those instances, moderate high and low boost are generally combined with varying degrees of midrange cut. Bass applications often show that moderate bass boost combined with midrange cut and high boost produce the best results. Keyboard applications can vary significantly, but generally will be somewhat similar to the bass application. Again, there are no "perfect” settings, and there is certainly no magic in flat EQ settings. We have provided one of the most versatile and effective EQ circuits available with which you can experiment in order to find your sound. PREAMP OUT JACK The preamp out jack (K) is the output of the preamp and is provided for patching out the preamp signal to external devices and/or effects units. POWER AMP IN JACK The power amp in jack (L) is of the switching type and, in the normal (nothing plugged in) configuration, the preamp output is internally connected to the power amp. When a plug is inserted into this poweramp in jack, the internal patching connection is broken and the power amp’s input is now the plug/patch into the power amp input jack. The purpose of the preamp out/power amp in jacks is to allow auxiliary effects units to be patched “in line” between the preamp and the power amp. FOOTSWITCH JACK The footswitch jack (M) allows remote control of the SATURATION™ function. A standard (tip-sleeve) phone jack equipped footswitch may be used to activate or cut off the SATURATION™ function. REAR PANEL FUSE The fuse is located within the cap of the fuseholder (1). It is necessary that the fuse be replaced with the proper type and value if it should fail in order to avoid damage to the equipment and to prevent voiding the warranty. If your unit repeatedly blows fuses, it should be taken to a qualified service center for repair. POWER SWITCH On domestic units, the power switch (2) is of the three-position type with the center position being “OFF.” This switch has two “ON” positions, one of which is used to ground the amplifier properly. One of the “ON" positions will yield the lowest amount of residual hum or "popping” when the instrument is touched and this is the position that should be used. On export models, we utilize a simple on/off switch that does not have multiple “ON” positions since the grounding (earthing) conditions in most countries are made positively through standard tamper-proof plug-in systems. LINE CORD For your safety, we have incorporated a three-wire line (mains) cable (3) with proper grounding facilities. It is not advisable to remove the ground pin under any circumstances. If it is necessary to use the amp in a two-pin plug system without proper grounding facilities, suitable grounding adaptors should be used. Much less noise and greatly reduced shock hazard exist when the unit is operated with the proper grounded receptacles. SPEAKER OUTPUTS The speaker output jacks (4) are of the standard 'A" type. Both the output jacks are wired in parallel and either or both may be used when connecting your speaker system. The 200H module has been optimized for a 4 ohm load but has adequate performance to drive loads both above and below the recommended 4 ohm impedance. Extreme care should be us...
Questo manuale è adatto anche per i modelli :Strumenti Musicali - The Century (1.98 mb)