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| BRIGHT |
BRIGHT / NORMAL SWITCH | While playing an open string, activate the BRIGHT / NORMAL switch to the | (up |
| position.) | NORMAL |
50Hz 80 180 300 600 1.2K 4K 6K 8K
ACTIVE
EQ IN
OUT 
MIX MODE
BRIGHT
INSTRUMENT
INPUTS
NORMAL
Become familiar with the frequencies that this switch enhances as it works along side the Graphic Equalizers' top 3 bands ( 4 - 6 - & 8K ) to bring out the upper harmonics and sparkle.
9 BAND EQ | Set the Tube Channel's 9 Band Equalizer per this example (if you have not done so) and activate it by using | |
| the 3 position mini toggle switch EQ IN | (up position.) |
50Hz 80 180 300 600 1.2K 4K 6K 8K
ACTIVE
EQ IN
OUT
MIX MODE
BRIGHT
INSTRUMENT
INPUTS
NORMAL
OUT
MIX MODE
To activate the 9 Band Equalizer via the Footcontroller, you must have the front panel 3 position mini toggle switch in the OUT position or in the MIX MODE position. There are two of these switches, one per channel located to the right and left respectfully. When the E.Q. 3 position switch is in the MIX MODE, the E.Q. will automatically be engaged.
COMPRESSOR
COMPRESSION
THRESHOLD
3:1 5:1 
OFF
FREQUENCY
Turn on the Compressor by selecting the 3:1 position on the face panel of the
You will notice less compression as you pass 12 O' clock until there is none at all. Now reverse this procedure. Play a high note (you may have to change the Threshold to maximize the effect for this test) and sweep the Frequency control
Remember that the Threshold setting is crucial to obtaining a usable, musical compression setting. Following the same procedure, we will run through the Field Effect Channel.
FIELD EFFECT CHANNEL
ROTARY CONTROLS & GRAPHIC EQ | Set the FIELD EFFECT CHANNEL rotary controls and the 9 Band Graphic E.Q. | |||||||||
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50Hz | 80 | 180 | 300 | 600 | 1.2K | 4K | 6K | 8K |
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| EQ IN | This was done to make room for a different tone control wiring scheme. |
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| OUT | The FET channel's Treble and Mid are wired in the same fashion as that of | |
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| BRIGHT | the Tube channel (though they may seem to enhance different frequencies |
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| HIGH | where the similarity ends. |
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PAGE 4