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■ POWER SWITCH (ON/OF!-): The AC power switch Is the conventional rocker type which Indicates off at the
bottom and on at the top.
■ GROUND LIFT SWITCH: This switch Is the three-position type with the center position completely removing
the Internal grounding capacitor from the circuit. This position Is normally recommended for situations where
the AC power receptlcle Is known to contain a properly grounded third wire. If properly grounded AC mains
supply Is not available, suitable ground lift adaptor should be used. The (+ and -) positions are used to ground
the amplifier properly when only two-wire services are available. One of these positions will yield the lowest
amount of residual hum or "popping" when the Instrument Is touched.
-PILOT LED: The pilot LED Indicates when the unit Is receiving electrical supply from the mains and Is
operational.
■ MASTER REVERB CONTROL: The master reverb control determines the desired amount of reverberation from
the Internal reverb system. Clockwise rotation Increases the reverb effect and counterclockwise decreases the
effect.
PRESENCE CONTROL: The presence Is an active high frequency EQ with cut and boost capability. This
control may be used similarly to a bright boost for the upper range of frequencies when additional bite Is
desired.
■ HIGH/PULL THICK: The high EQ control Is similar In operation to a typical passive treble control and varies
response of the high end at frequencies below the effect of the presence control. The pull switch on the high
control activates the "thick" mid range boosted tonality which Is very popular with rock players. Notice that the
bass and mid controls have little effect when pull thick Is activated.
■ MID FREQUENCY CONTROL: The mid control determines the tonal ity of the vital mid range frequency band.
The mid frequencies contribute a large part of the overall tonality for guitar In all forms of music. Clockwise
rotation will allow mid frequencies to project while counterclockwise rotation wll i cause tonality to become
much thinner. Adjust to personal taste.
■ LOW FREQUENCY CONTROL: The low frequency control adjusts the tonality for the amount of smoothness
and offers extended bandwidth on the low end of the tonal range. Care should be taken to not overboost with
this control to avoid muddiness and premature overdriving of the power amp. Extreme overboosting of bass
frequencies tends to distract from the projection capabi lity of the amplifier and confuses material which should
be heard for lead guitar lines.
• NORMAL GAIN CONTROL/PULL BRIGHT: The normal gain control determines the overall level of the normal
channel. This channel Is accessible only with the remote footswitch and utilizes the EQ circuit above. The
normal channel gain Is unaiffected by the post (master) gain and works Independently for a clean sound when
no distortion Is desired. When the normal channel Is selected, the pull thick feature Is defeated and EQ controls
function normally. Notice also that Saturation^' Is not functional with the normal channel. The normal channel
gain also Includes a pull bright feature for additional biteor edge on the high frequencies when the control knob
Is pulled.
■ GAIN BLOCK": The Bandit" has been designed utilizing our new Gain Block" signal processing front end.
The provision of three Interacting controls allows total control of the amp's gain structure (dynamics),
harmonic content, overload texture, and output level. Each of the three control functions must be understood
and adequate experlmentsitlon time must be spent In order to fully utilize the potential of this unique and
Innovative Gain Block" circuitry.
• POST GAIN CONTROL: The post gain control regulates the overall gain (sensitivity) of the lead Gain Biock"
and Is conventional In operation. The post control*may be used exactly like any other master gain control.
Caution must be exercised to keep the post gain near the mid point of Its travel to prevent excessive clipping of
the power section. An approximate setting of 12 o'clock should be maintained for maximum headroom. When
overload Is desired with the pre gain and Saturation", the post gain may be adjusted to lower settings. Adjustto
personal taste.
-SATURATION" CQNTRQL: The Saturation™ control Is a function of the preamp circuitry and very closely
simulates warm, tube-type, harmonic overloads. This control creates preamp overload and works In
conjunction with the pre and post gain controls In the lead Gain Block™. When using Saturation™ the post gain
should always be at 5 or below to ensure that the power amp section remains clean, so the tube-type
compression effect Is accomplished with the preamp. The gain compression effect Is increased as the
Saturation" control Is rotated clockwise.
■ PRE GAIN CONTROL: The pre gain control for the lead Gain Block™ determines the Input level and functions
similar to any typical channel gain control. This control should be operated with sufficient gain to drive the
Saturation™ control for the smooth, compressed, tube-type overload. Please be aware that this control exhibits
an audio taper and develops approximately IMgaIn at the 12 o'clock position with the balance being obtained
as the control Is rotated clockwise. After adjusting the post gain to Its approximate mid point position, the pre
gain control should be set once again to your personal taste for your particular style of music. This control
features a pull switch for extra brightness when the knob Is pulled outward slightly. Saturation™ generally
sounds better without the bright feature activated.
•INPUTS: The new Bandit™ has been provided with two Input jacks, each having different sensitivities and a
unique arrangement allowing the gain of both jacks to be equalized when Instruments are plugged Into both
Inputs. The high gain jack is the Input normally used for most Instruments and has considerably more
sensitivity than the low gain jack. The low gain jack Is 6dB less sensitive than the high gain Input and should be
used when the signal from your Instrument Is very hot and premature overloading of the Input Is detected. Many
times the or low gain Input should be used when extremely hot signals are available from other preampssuch as
effects devices, etc.
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