EFFECTS LOOP (Continued) | When | panned | hard | left |
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pass this junction. When the rotary control is swept toward |
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HIGH, the crossover will allow more of the upper harmonic |
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range to receive processing. Panned hard right (5:00), mostly |
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highs will be present in the loop's signal path. | With | the |
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CROSSOVER control set straight up (12:00), the whole range of frequencies |
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(lows and highs) pass equally through the EFFECTS LOOP. The MIX Control |
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lets you decide how much of the frequency specific affected signal you |
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wish to blend with the dry (unaffected) signal. | Panned hard | left, (0%) |
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removes all the wet signal from the mix. Panned hard right (100%) allows only | BALANCED | TUNER |
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the wet signal to pass the MIX Control. In general, its always a good idea to set |
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up your signal processor with its mix control at 100% wet and then slowly raise
the
NOTE A great way to check out the power of this advanced loop is to try this simple exercise: 1. Connect your favorite signal processor to the SEND and RETURN (Input to SEND - Output to RETURN.) May we humbly suggest a "chorus" program as these seem to be great for the purpose of this exercise. 2. Set the signal processor's Dry / Wet Blend to 100% Wet. 3. Sweep the CROSSOVER control to approximately 3:00 (this will allow mostly high frequencies to be processed.) 4. Use the FX LOOP AUTO assign rotary to activate the loop in the Mode that you wish to play in. 5. While playing an open string, slowly increase the FX LOOP MIX control until you reach the desired dry / wet blend.
Right away you should be able to appreciate the fact, that, while you have chorus (or whatever effect you choose) on "top" of your sound, you have not lost the punch and authority that is so often sacrificed when using effects...especially less expensive units that don't incorporate high quality operational amplifiers in their mixer and output stages. At this time you may also want to sweep the CROSSOVER control over to 9:00 to experience the same test passing mostly low frequencies through the loop. While quite different and interesting, we think most players will want to process their highs, keeping the bottom end tight with unprocessed definition.
SPEAKER OUT | The BASIS |
| interconnects for powering speaker enclosures, |
XLR and the standard 1/4 inch phono jacks. Each of these formats include a pair of jacks that are wired in parallel and which may be used individually or together to power additional cabinets. The recommended speaker load impedance for the
SPEAKER OUT | SPEAKER |
| OUT |
SUGGESTED LOAD 4 OHMS 600 WATTS RMS MINIMUM LOAD 2 OHMS
| SPEAKER |
SPEAKER OUT | OUT |
CAUTION: NEVER BLOCK AIR VENTS
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