Samson VS Series 13

To find out how each graphic equalizer slider affects the sound of your particular bass, start with all ten bands flat (that is, all ten sliders at their detented “0” center position). Then, one by one, raise and lower each slider, listening carefully to the effect of each. If you don’t specifically need to utilize the ten-band graphic equalizer, bypass it by setting the In/Out switch to its “Out” position. Alternatively, you can preset a custom graphic equalization curve (for example, for a feature solo) and activate it simply by pressing the switch when needed. Note that turning all EQ controls up the same amount will have virtually the same effect as simply turning up the Master Volume; conversely, turning them all down the same amount will have virtually the same effect as turning down the Master Volume. Both approaches are pointless (after all, that’s why we gave you a Master Volume control!)

In many instances, the best way to deal with equalization is to think in terms of which frequency areas you need to attenuate, as opposed to which ones you need to boost. Be aware that boosting a frequency area also has the effect of boosting the overall signal; specifically, too much low frequency EQ boost can actually cause overload distortion or even harm a connected speaker, though the Model 3500’s compression circuitry—if on—will act to some extent to prevent this from occurring. In general, if you’re going to apply a fair amount of low frequency EQ boost, it’s a good idea to keep Compression on, if only to protect your speakers from potential damage.

The specific EQ you will apply to your bass signal is very much dependent upon your particular instrument and personal taste and playing style. However, here are a few general suggestions:

•For that super-deep reggae or Motown sound, boost low frequencies slightly while attenuating the highest ones (leave mid-range frequen- cies flat or slightly attenuated), as shown in the illustration on the right.

•To remove boxiness and make your instrument sound more “hi-fi,” try attenuating mid-range frequencies while leaving low and high frequen- cy settings flat, as shown in the illustration on the right.

•For a twangy, cutting sound, try boosting the high and high mid-range frequencies, as shown in the illustration on the right (putting new roundwound strings on your bass will help a lot also!)

•Whenever you get a really good EQ setting for a particular instrument or song, write it down (you’d be amazed how easy it is to forget these things!).

Finally, as you experiment with the EQ controls of the Model 3500, don’t forget that your bass also provides EQ controls in the form of its tonal settings—this can be particularly effective in instruments that have active circuitry. Also, try various EQ settings with different Pre-Amp blends and with and without Compression. For more information, see the “About Compression” section on the following page.

About Equalization

GRAPHIC EQUALIZER

30Hz

64Hz

125Hz

250Hz

500Hz

1KHz

2KHz

3KHz

5KHz

8KHz

+15

+12

-2

-3

OUT

-6

-9

-12

-15

30Hz

64Hz

125Hz

250Hz

500Hz

1KHz

2KHz

3KHz

5KHz

8KHz

GRAPHIC EQUALIZER

30Hz

64Hz

125Hz

250Hz

500Hz

1KHz

2KHz

3KHz

5KHz

8KHz

+15

+12

-2

-3

OUT

-6

-9

-12

-15

30Hz

64Hz

125Hz

250Hz

500Hz

1KHz

2KHz

3KHz

5KHz

8KHz

GRAPHIC EQUALIZER

30Hz

64Hz

125Hz

250Hz

500Hz

1KHz

2KHz

3KHz

5KHz

8KHz

+15

+12

-2

-3

OUT

-6

-9

-12

-15

30Hz

64Hz

125Hz

250Hz

500Hz

1KHz

2KHz

3KHz

5KHz

8KHz