NASHVILLE’” 400 GENERAL DESCRIPTION
Congratulations, you have just purchased the successor of the famous LTD@ 400. The new Nashville’” 400 is a refinement of the capabilities and features of the older LTD@ 400 and has far surpassed that unit in performance. This new system features our more efficient Super Structure’“,15” Black Widow@ loudspeaker in a ruggedly constructed enclosure of 3/4” wood, which is covered with 34-ounce heavyduty vinyl Tolex. The Nashville 400 is state-of-the-art with every aspect of design and construction, and we have included our famous DDT@ compression circuitry, which senses the onset of clipping from the power amp and compresses the signal only to the extent necessary to prevent distortion. The active tonecircuitryisverysimilartothat used in ourSession@/LTD@,exceptthatthecontrols havesomewhatgreaterrangeand allow considerably better noise performance.
Overall, the new Nashville may be considered the ultimate “Clean Machine” and has been designed to minimize distortion from the input through to the output including the loudspeaker. This system is single channel and features a new pre EQ patch, which allows effects devices to be interfaced before the equalization so that maximum tone coloration may be used to enhance whatever effects devices are chosen.
The power section of this unit features 210 watts RMS (the same as our older Session@ 400 and LTD@) and it delivers this power into a 4 ohm load. The addition of our compression circuit enables the Nashville 400 400 to be louder and cleaner than its predecessors, which were also 210 watts, but did not have the DDT@ compression circuit. On the rear panel we have also included preamp out and power amp input jacks for the all important patch of effects devices post the EQ and also provides the ability to go directly into a studio console or sound reinforcement mixer with the preamp output.
Please read this manual and understand the control functions and try to adapt the technology that is designed within the Nashville 400 to your particular needs. We certainly believe that you will find this unit to be the most advanced state-of-the-art system for steel guitar, keyboards, lead guitar, fiddle, or any other application you may have which requires clean, clear, undistorted, high sound pressure level operation.
INPUTS (1)
The Nashville 400 has two inputs, one featuring high gain and the other one third as much gain. The High Gain Jack is the input normally used, unless a signal from the instrument is overloading the input preamp. If your input signal is overloading (distorting) the High Gain Jack, then the Low Gain Jack (-10 dB) should be used. Because of the unique switching design of the input circuitry, the gain of both high and low jacks are preserved when instruments are plugged into both jacks.
PRE GAIN/PULL BRIGHT CONTROL (2)
The Pre Gain Control is similar to a conventional volume control in that it is the first level setting device in the system. Operation of this control is conventional and even though the associated circuitry is quite different from the older totally passive units there should be no problem with operation. This control should be adjusted to the desired amount of gain necessary for the instrument, but it is also working in conjunction with the Post Gain Control. Once the Post Gain Control is adjusted properly then the gain desired for each individual instrument that is patched into the Nashville 400 should be set with the Pre Gain Control.
The Pre Gain Control also features an integral “pull switch” which adds a significantboost (6 dB) to the high frequencies when activated. This high frequency boost gives a nice “edge” to clean playing styles. Steel guitarists will usually adjust their high frequencies with the Presence Control but lead players will definitely enjoy the pull bright feature. The boost is activated by “pulling out” on the Pre Gain Control and defeated by simply “pushing” the knob inward.
POST GAIN CONTROL (3)
The Post Gain Control sets the overall level from the preamp which feeds the 210 watt power section of the Nashville400. The action of this control is very similar to that of a master volume control and can be used to control the overload dynamics of the preamp section by decreasing the sensitivity of the power amp. Normal settings of this control for clean operation will be from 12:00 o’clock to full clockwise. Rotating thecontrol clockwise increases thesensitivityof the power amp and the overall volume level of the system. Some studio applications, because of low noise requirements may need a fairly low setting of the Post Gain Control, but, please be careful to keep the Post Gain Control adjusted to at least the same number setting as the Pre Gain Control to avoid preamp overload which may cause distortion. An average setting for the Post Gain Control for normal conditions during concert situations would be around the number5 to 7 positions and could be slightly lower for studio applications. Once this control is adjusted properly for the amount of sensitivity you desire for the overall system, then the gain of the individual instrument patched in should be accomplished with the Pre Gain Control.
PRE EQ PATCH (4)
The unique pre equalization patching*jacks have been provided for use with external devices such as volume pedals, effects units, etc., etc. This feaure allows external devices to be patched into the system after the input preamp but before (pre) the EQ (tone controls). The sensitivity of the Pre EQ Patch has been optimized for low level (instrument signal) type devices. NOTE! Line level (1 volt) devices should be patched at rear panel - preamp out and power amp input loop. Shielded cables should be used for all external patching of effects devices.
