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the desired high end rolloff. To boost high end response of the preamp, rotate the control clockwise (Oto+12
dB) The boost portions of this control are very effective for adding an edge to contemporary "neck slapping"
and "string popping" techniques employed by bassists or for accentuating the high end of electronic
keyboards. (See tone setting charts tor further examples.)
The High Control
The high control is similar in operation to the presence control but is placed ata lower frequency point. As
with the presence control, less high end response is obtained through counterclockwise rotation (0 to -15 dB)
while Increased treble response occurs In the ranges from0to+i5dB. (See the tone setting charts for further
examples.)
The Mid, Shift and Bandwidth Controls (Parametric Equalizer)
The mid, shift and bandwidth controls together determine the tonal response of the vital mid-band region.
We choose to use the word vital to describe the mid frequencies because proper use of this frequency region
can and does make the difference between a good sound and a great one Thorough experimentation with
these controls will rapidly demonstrate the versatility and effectiveness they will have on your overall sound.
The mid control is the element which will determine how much of the mid frequency range will be added
(boost) or subtracted (cut) As with the other active controls, boost of the mids is obtained from 0 through +15
dB while cut is available from 0 through -15 dB.
The shift control allows the musician to determine where the cut and boost of the mid control will operate.
The shift controls allow total control of the entire mid-band region from the low mids (150 Hz) to the upper mids
(1.5 kHz).
To further ao|ust the mid-band region, the bandwidth control can be used to create a peak sound in the
mids by gradually rotating the control counterclockwise to the sharp position. By rotating tne banowidth
control clockwise (broad) the mids begin to gradually sound warmer and fatter as they are spread across a
wider portion of the mid-band spectrum.
To get a better idea of how the mid. shift and bandwidth controls operate, do the following experiment:
1.
Plug the instrument into the high or low gain jocks.
2.
Rotate the pre gain control to #2 or *3 (Pull Bright switch in).
3.
Rotate the post gain control between #5 ana #8 (Pull Punch in)
4.
Place the low and high equalization controls at 0 (zero).
5.
Place the mid control somewhere above (+) its zero position.
6
Play the open first (G) string or the bass (or strike a note somewhere in the middle of the keyboard)
and allow it to sustain.
7
As the note sustains, manually sweep the shift and bandwidth controls.
Note the wide differences in tonality which can be achieved with these 3 controls. Again, after you spend
time with these three important controls you will develop understanding of their operation
The Low Control
The low control determines the low end (bass) response of the TNT"" 130 The low control is active and is
capable of adding or subtracting the desired amount of low end. Boost is obtained from Oto -15 dB and cut is
available from Oto-15 dB. NOTE: ALTHOUGH THE LOW CONTROL SHOULD PRESENT NO PROBLEM IN
OPERATION, IT SHOULD BE NOTED THAT OVERBOOSTING OF THE LOW CONTROL MAV CAUSE THE
TNT— 130 s DDT- COMPRESSION LED TO ACTIVATE PREMATURELY —EVEN AT LOW VOLUME LEVELS.
USUALLY, THIS OCCURRENCE CAN BE CORRECTED BY CUTTING THE AMOUNT OF LOWS UNTIL THE
DDT"' LED ACTIVATES PERIODICALLY
The Gain Section
Post Gain Control
In normal use. the post gain control should be operated above the t2 o'clock or #5 position. To obtain
maximum power, rotate the control fully clockwise to «10 NOTE: WITH THE POST GAIN CONTROL AT ITS
#10 POSITION. THE PRE GAIN CONTROL SHOULD NOT BE OPERATED ABOVE ITS 12 O'CLOCK OR 45
POSITION TO AVOID UNWANTED DISTORTION. WHILE UTILIZING MAXIMUM POWER AND EXTREME
HIGH END BOOST IN THE EO SECTION. YOU MAY FIND IT NECESSARY TO BACK DOWN (CUT) THE
POST GAIN CONTROL TO APPROXIMATELY ITS #8 POSITION TO AVOID ANY UNWANTED RESIDUAL
NOISE
The post gain control utilizes an integral pull switch called "punch". When activated, punch adds a 6 dB
boost at 120 Hz and adds dramatically and effectively to tne lowend response and projection capabilities of the
TNT- 130.
Pre Gain Control
The pre gain control is the first volume control of the system. If the post gain control is set lo its full #10
position for maximum power reserve. Ihe pre gain control should be positioned somewhere in the middle of its
range or lower Placing the pre gain control higher than fc5 may cause unwanted square waves (distortion) and
result in premature clipping and/or activation of rhe DDT" compression circuitry The pre gain control also
employs a pull bright switch which adds approximately 8 dB of boost to the high end. Like the high and
presence controls explained in the Equalization Section paragraph, the pull bright switch can be used lo
enhance many modern bass playing techniques.
.The Inputs
The TNT-130 has two inputs labeled high gain and low gam. The high gain input is the Input which should
normally be used and will deliver the highest signal evel from the input to the preamp. Sometimes, however,
bass guitars that are equipped with very nigh output hot' pickups will overload thehigh gain input. This will be
apparent because you will hear some unwanted distortion at the loudspeaker or frequent illuminating of the
DDT- compression light If this distorted sound does occur, plug your instrument into the lowgain input which
has less gain (- 6 dB) than the high gain input Wher two instruments or signal sources are plugged into both
inputs, the low gain input is automatically switched to the same level as the high gain input. NOTE: WHEN
USING TWO INSTRUMENTS OR SIGNAL SOURCES WE STRONGLY RECOMMEND THAT THE VOLUME
CONTROLS BE SET AT A REASONABLY LOW VOLUME LEVEL TO REDUCE THE POSSIBILITY OF UNDUE
DISTORTION AND/OR SPEAKER DAMAGE.
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