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E. AURAL ENHANCER - Featured on just about everyG.MIDRANGE SEMI-PARAMETRIC EQ -
¨
SWRamplifier since the companyOs inception inYou have two midrange tone controls.
1984, it is a trademark part of the OSWR Sound�MID LEVEL boosts or cuts (?15dB) the
people have come to know and love. It was developedlevel of midrange response at the specific
to bring out the fundamental low notes of the bassmidrange frequency selected by the
guitar, enhance the high-end transients, and reduceMID FREQ knob. To find a midrange
certain frequencies that Omask� the fundamentals.frequency, rotate MID LEVEL fully to either O�15� or
The ultimate results are: 1. A more transparent sound,O+15� (this makes frequency changes more
especially noticeable when slapping and popping, andnoticeable). Adjust MID FREQ to the specific
2. Passive basses take on an Oactive� type of qualityfrequency, then adjust MID LEVEL as desired.
when set at O2 oOclock� or positions further clockwise.
NOTE: When MID LEVEL is in the center (12 oOclock)
How the AURAL ENHANCER works: Think of it as aposition, the midrange semi-parametric equalizer is
variable tone curve that changes depending on whereOflat� and has no effect on your signal regardless of
you set the AURAL ENHANCER control knob. As youthe position of the MID FREQ control.
rotate the control clockwise from the OMIN� position,
TIPS: If you need to Ocut through� the band a little
you are elevating low�, mid�, and high�frequency
more, try boosting the 200�400Hz midrange
points selected specifically because theyOre different
frequency level. If you like a more transparent or
than those of the individual Tone Controls.
Oscooped� sound, try cutting the 800Hz midrange
This remains true up to about the O2 oOclock� position.frequency level. The midrange controls are especially
This positionNa favorite for many usersNbrings outuseful in controlling fretless basses and their inherent
both the low end fundamentals and crisp highs and, atqualities.
the same time, adds a little lower midrange to help cut
H. TREBLE - Employs a shelving-type circuit that boosts
through the band. However, if you go further
or cuts high-frequencies (and their subsequent
clockwise and past the O2 oOclock� position, selected
octaves ?15dB) from about 2 kHz to 14 kHz.
mids will start to drop offNspecifically, a group of
frequencies centered around 200 Hz. At this point andI. TRANSPARENCY - Boosts or cuts ultra-high
after, the effect becomes much more pronounced.frequencies (?15dB) above ~5kHz.
However, the curves involved here are gentle, as
J. EFX BLEND - Controls how apparent your effects
opposed to the very extreme curves you can create by
loop sounds, or more precisely, the ratio of external
boosting or cutting the Active Tone Controls (EQ).
effects loop (wet) signal, to internal amplifier (dry)
Most significantly for basses, the AURAL ENHANCERsignal. Used in conjunction with the rear panel Effects
will help bring out the fundamentals of your lowerLoop jacks, EFX BLEND is enabled when a 1/4" phone
registers without masking them with overtones, as isplug is inserted into EFFECTS RETURN {S}.
possible when using the BASS control only. At the
same time, it opens up the sibilance characteristics of
all instruments without being harsh.
Your ears are the best judge when it comes to settings
that affect the tone of your instrument. Obviously,
Onumbers, curves and circuits� mean nothing if not
heard with your own ears. So, play a chord, a
repeated lick, or a harmonic, and turn the AURAL
ENHANCER control to various points on the knob to
hear the effect for yourself.
F. BASS - Employs a shelving-type circuit that boosts or
cuts low-frequencies (?15dB), from about 30Hz to
100Hz, centered at around 80Hz.
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