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the Active input.
NOTE: Using the Active input with passive basses (active instruments will always employ a battery) may result in a loss in
high end transients. Players who roll off their high end starting at about 2K to 3KHz may find this input more to their liking.
If you hear some distortion on your active bass and are using the Active input jack, CHECK YOUR BATTERY!! Also, make
sure none of the overload indicators are lit.
PREAMP CLIP LED
The preamp clip LED will become lit whenever the preamp, tone section or output buffer reach clipping (run out of
headroom). This function does NOT monitor the first tube stage of the Passive/Active input jack (see that section for more
info). In the event the preamp clip indicator lights, turn down the Gain control. Since the preamp clip LED also monitors
the tone section, boosting any one of the tone controls can cause the LED to activate. In any case, turning down the Gain
control will correct the
situation.
NOTE: Constant clipping of the preamp will not harm the electronics in your Baby Blue, however, damage can occur to
some speakers due to near-DC content present in a clipped waveform. Overdriving the first tube stage as described in the
Active/Passive input jack section, does not apply to the above note.
GAIN CONTROL
The Gain control adjusts the volume of the preamp section. After the tone controls, Aural Enhancer and any effects you
may be using have been set to your liking, the Gain control should be set to where the Preamp clip LED barely flashes
upon striking your loudest note. After that has been accomplished, use the Master Volume to set the desired volume level.
Utilizing these controls in this manner assures the user of maximum signal to noise ratio with no distortion caused by the
preamp circuits clipping. Since the Gain control is similar to a "pad," a small amount of signal will get through with the
Gain control rotated fully counter-clockwise.
AURAL ENHANCER
The Aural Enhancer was developed to bring out the fundamental low notes of the bass guitar, reduce certain frequencies
that help "mask" the fundamentals and enhance the high-end transients. This effect becomes more pronounced as the
control is turned to maximum. the result is a more transparent sound and is especially noticeable with a slap style
technique of playing.
EQ DEFEAT
By pulling out on the Aural Enhancer knob until you hear a click, you can defeat the tone control section (return to a flat
response). This feature can be very useful in studio situations ("let's hear your eq, now let's hear it without it.") or in
simply analyzing how you have set your tone controls with respect to a flat response.
TONE CONTROL SECTION
The tone control section is a semi-parametric type with both level (cut and boost) controls and frequency controls. The
INSIDE knob is the LEVEL control and the OUTSIDE knob is the center FREQUENCY control. The level control boosts or cuts
(raises or lowers) the tone set by the frequency control. If the level control is in the flat (center click) position, the
frequency control will have no affect to the sound.
To assure the user of the flat (out) position of any one tone control, a center click position has been provided. A twenty
four stepped frequency control has been provided for the user so that they may always re-find a desired tone. As you find
different settings that are desirable, you may want to make a note of them.
The easiest way to get acquainted with the semi parametric is to raise the level control close to +15, then rotate the
frequency control from one end to the other noting the change in sound. Do this with each section (bass, midrange and
treble) one at a time. Chances are that with each section you will find a couple of positions that are especially pleasing or
unpleasing to your ear. As these are found, adjust the LEVEL control to the desired amount of cut or boost that is desired.
After finding a position on each control, activate the EQ DEFEAT switch to compare. The more you do this, the more you
will relate frequency "numbers" to their respective sounds. The goal that can be reached is to be able to easily find
adjustments with the tone section that are needed. For example:
Not enough solid low end...................boost the 40-60Hz range
Midrange is honky or hollow sounding......cut the 600-1000Hz range
Treble is harsh and hurts the ear.....cut the 1.5K to 2.5KHz range
Having trouble cutting through the band.........boost around 200Hz
Not enough presence, lackluster..........boost from 5KHz to 7.5KHz
Too much pick or finger noise.........cut the 5KHz to 7.5KHz range
Need a more dynamic, "piano" sound......cut 800Hz, boost 40 & 6KHz
Want to sound like Marcus Miller....................practice a lot
We suggest you try all of the above examples. Then try doing just the opposite to realize both ends of the spectrum. Keep
in mind that the amount of cut or boost is something only you can decide.
EFFECTS BLEND
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