User manual HUGHES & KETTNER BASSBASE600

[. . . ] This manual will help you exploit the many options your new amp offers. We wish you much enjoyment and success with your BassBase 600! BEFORE OPERATING. . . . Make sure it matches your local AC current before you plug the amp's power cord into an AC outlet. Place the amp on a sturdy, secure base (no, a stack of empty beer crates won't do). If you install the amp in a rack, make sure the amp is supported from the rear, or is mounted at the bottom rack space. HUGHES & KETTNER is not liable for damage to the amp due to incorrect installation in racks. 2 For safety purposes, the BassBase 600's power amp is exclusively equipped with Speakon jacks and female XLR jacks. (In some cases, you may need to employ an adapter cable. ) NOTE: Under no circumstances should you use 1/4" plugs for connecting speaker cabinets to the BassBase 600; they are not designed to handle the amount of power this amp puts out. 3. 0 SELECTING EQ SETTINGS/MIDI You can activate the BassBase 600's two VARIMETRIC EQs and the FX LOOP in any one of three different ways: via the front panel controls, the STAGEBOARD, or MIDI (once the MSM 1 MIDI Module has been installed). From the front panel, press the EQ ON button to enhance the basic EQ section (BASS and TREBLE), which is always on, with the VARIMETRIC EQ. [. . . ] The difference lies in the VARIMETRIC EQ's auto-variable bandwidth and slope, which enables you to achieve substantially more musical results. The easiest way to use it (and the best way to acquaint yourself with how it works) is to do the following: - Turn the LEVEL control all the way up so you can really hear the results when you tune a frequency range in the lower midrange. - Dial in the desired low-mids center frequency via the FREQ HZ control. If you stop rotating the pot at any point you will hear that particular frequency especially pronounced. You may find a given frequency particularly annoying, but not to worry, help is near: simply attenuate the culprit. - You can now use the LEVEL control to amplify/attenuate selected frequencies as desired. - Use the same procedure to tune the upper-mid frequencies via the FREQ KHZ and LEVEL controls (LEVEL to maximum, tune FREQ KHZ, then adjust LEVEL to amplify/attenuate the chosen frequencies). - Hit the EQ ON button if you need to compare your EQed tone to the basic tone. - If you leave the LEVEL control in the 12 o'clock position for a given frequency, that frequency will not be affected. With a bit of practice, you can also tune an attenuated frequency range (rather than artificially overemphasizing it first like we just did), but keep in mind that for the human ear, attenuated frequencies are generally more difficult to discern. Why call it "VARIMETRIC" rather than "PARAMETRIC?" 5 Even though you handle the VARIMETRIC the same way you would a conventional semi-parametric EQ with its fixed filtering, it is a much more sophisticated sound-shaping tool. The filters, rather than being geared to a fixed frequency range, are variable, enabling you to fine-tune your tone for a truly musical result. This frequency diagram depicts the effects of the VARIMETRIC EQ on the lower-midrange. As clearly illustrated, the boost of a complete octave range is very well-rounded and even, ideal for clearly establishing the basic sound character. Attenuation occurs at a much narrower bandwidth to allow you to accurately target undesirable frequencies. If you amplify a given frequency range, the frequencies bordering its outer parameters are smooth out with a touch of attenuation, and if you attenuate a given frequency range, the frequencies bordering its outer parameters are gently amplified, achieving an audio contour which intensifies the overall EQ effect. Mid/Treble equalization: The higher the frequency, the broader the bandwidth processed by the VARIMETRIC EQ, much in the way the human ear registers the upper end. Attenuation occurs at a much narrower bandwidth so you can accurately target undesirable frequencies and avoid the dreaded broad-band hollow midrange effect. 4. 3 THE NOTCH FILTER Undesirable frequencies such as those caused by resonating objects in the room or floor boards in the stage can be suppressed via the NOTCH FILTER. The NOTCH FILTER operates in extremely narrow bandwidths to avoid altering the overall sound. Adjust the NOTCH FILTER as follows: 6 - Turn the NOTCH FILTER LEVEL control all the way up so you can clearly hear the attenuated frequency. - Turn the FREQUENCY knob until you locate the frequency responsible for the sympathetic vibrations; the NOTCH FILTER will suppress it. - Now turn the LEVEL control to just below the point where the resonance sets in, thus ensuring that the filter has a minimal effect on the overall sound. It does take a bit of practice to get the hang of the NOTCH FILTER, as the human ear cannot readily identify attenuated narrow bandwidths. 4. 4 THE BASSBASE 600 AND FX PROCESSORS The BassBase 600 is equipped with a parallel FX loop. the BassBase preamp signal) so that the original signal is still audible during the brief interruptions caused by multieffects processor switching. The FX-MIX knob controls the dry/wet mix. NOTE: As a rule of thumb, the best method for using signal processors is to set the device so that its output is all effect, then to mix the original signal with the processed signal via the FX-MIX control. This will avoid the tone degradation often caused by effects devices. - Activate the FX loop via the FX SELECTOR SWITCH. - Adjust the FX loop's level to your FX processor's input level. Press the -10 dB button for effects devices that are designed for instrument levels. If the button is not pushed in, the signal remains at standard line level for 19" rackmounted processors. - Adjust the blend between the original and processed signal via the FX MIX pot located on the front panel. Towards DRY = more original signal, towards WET = more processed signal. NOTE: Some signal processors cause phase cancellations that are detrimental to the overall sound (washed-out tone, lower output level at the 12 o'clock position). In this case, turn the BassBase FX control all the way to the right (WET). the volume relationship between the original and the processed signal must be adjusted at the processor. 7 TIP 1: If you choose not to connect a signal processor/effects device to the FX loop, you can connect another instrument or tape deck. For instance you could connect a guitar, keyboard, drum machine, tape player, etc. [. . . ] Turn the FX-MIX control all the way to the right (WET) to avoid phase cancellations. E6) The red CLIP LED keeps illuminating. Press the -10 dB button or turn your instrument's volume pot down. If the CLIP LED no longer illuminates, you must reduce the processor's output level. E7) When using the LINE OUT or HF OUT jacks, you experience annoying hum. - You have just encountered a ground loop (possibly coming from a mixing console or power amp) or interference (possibly from emanating from a transformer or neon lighting). [. . . ]