Stimmen - 4, Durchschnittliche Bewertung: 4
(
)
)
|
Anleitung Zusammenfassung
As mentioned in the post gain control description, if the post gain control is set between its #8 and #10 positions for maximum power reserve, the pre gain control should be positioned somewhere in the middle of its range or lower. Placing the pre gain control higher than 5 may cause unwanted square waves (distortion) and result in premature clipping and/or undue activation of the 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, the pull bright switch can be used to enhance many modern bass playing techniques. INPUTS The TKOT" 65 has two inputs labeled high gain and low gain. The high gain input is the input which should normally be used and will deliver the highest signal level from the instrument to the preamp to the power amp. Sometimes, however, bass guitars that are equipped with very high output “hot" pickups will overload the high gain input. This will be apparent because you will hear some unwanted distortion at the loudspeaker. If this distorted sound does occur, plug the instrument into the low gain input, which has less gain (-6 dB) than the high gain input. When two instruments or signal sources are plugged into the 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 THE VOLUME CONTROL BE SET AT A REASONABLY LOW VOLUME LEVEL TO REDUCE THE POSSIBILITY OF UNDUE DISTORTION AND/OR SPEAKER DAMAGE. ROCK INPUTS HIGH LOW GAIN GAIN GAIN EQUALIZATION 3 ° 3 OHO: ’O: (Oí -O--O; O S _ 0 O 10 O 10 PRE POST PULL BRIGHT PULL PUNCH 1D LOW vv/ 150 1.5K SHIFT 10 MIO O 10 HIGH 12 + PRESENCE COUNTRY/BLUES ^ACTIVATE- INPUTS GAIN ¿4 6 ■a- — to OHO HIGH LOW GAIN GAIN O 10 O 10 PRE POST PULL BRIGHT PULL PUNCH EQUALIZATION 3^3 O. (OJ O; ó; :Ó O 10 LOW VV/ 150 1.5K SHIFT 10 10 MID HIGH -12 12 + PRESENCE ACTIVATE FUNK/THUMB SLAPPING TECHNIQUES INPUTS I—GAIN—| 5 c y\ 5 EQUALIZATION 3 ° 3 3 2 OHO: -O': O-O; -O: Q HIGH LOW GAIN GAIN 10 10 PRE POST PULL BRIGHT PULL PUNCH O 1D LOW \W 150 1.5K SHIFT 10 10 MID HIGH 12 12 + PRESENCE NOTE: THE ABOVE TONE CHARTS ARE MEANT ONLY AS A GENERAL GUIDE AND ARE PROVIDED TO FAMILIARIZE THE PLAYER WITH THE FUNCTIONS AND CONTROLS OF THE TKO’“ 65. ADJUSTMENTS TO THESE CONTROLS WILL BE NECESSARY DUE TO VARYING TYPES OF INSTRUMENTS. PICKUPS AND ACCESSORIES UTILIZED ALONG WITH YOUR STYLE OF MUSIC AND PLAYING TECHINQUES. BE SURE TO READ ALL OF THIS OPERATING GUIDE TO UNDERSTAND FULLY ALL OF THE CONTROLS AND THEIR FUNCTIONS. BI-AMPING THE TKO™ 65 Many bassists and keyboard players today utilize a technique called bi-amping to increase the efficiency (performance) of their amplification systems. This can be accomplished with the TKO'“ 65, one external power amplifier, one additional speaker and enclosure, and a device known as a crossover. The crossover, such as Peavey’s ECM™ (Electronic Crossover Mainframe) and PL™ Series plug in crossover modules, is the device used to divide the instrument's signal into two separate signals: low frequencies and high frequencies. To bi-amp the TKO'“ 65. use a high quality, shielded patch cord and make the connection from the preamp output to the crossover device input. If the TKO™ 65 is to be used for the high frequency section, use another high quality, shielded patch cord and make the connection from the crossover's high output to the TKO™ 65’s power amp input. The low frequency output of the crossover should then be connected to an external power amp (Peavey Model M-3000™ or XC-400'“ recommended) and the output of the power amp connected to the speaker system with a high quality, unshielded patch cord NOTE: IF YOU ARE NOT FAMILIAR WITH THIS TECHNIQUE, CONSULT YOUR AUTHORIZED PEAVEY DEALER OR THE PEAVEY FACTORY TO OBTAIN PROPER CROSSOVER POINTS AND OTHER PERTINENT INFORMATION FOR YOUR BI-AMP SYSTEM. TKO™ 65 SPECIFICATIONS: POWER AMPLIFIER SECTION: RATED POWER & LOAD: 65 W RMS into 8 ohms with DDT’" compression POWER @ CLIPPING: (TYPICALLY) (5% THDI, 1 KHz, 120 VAC Line) 40 W RMS into 16 ohms 70 W RMS into 8 ohms 50 W RMS into 4 ohms 2 ohms not recommended FREQUENCY RESPONSE: +0, ^1 dB, 60 Hz to 20 KHz @ 50 W RMS into 8 ohms TOTAL HARMONIC DISTORTION: Less than 0.2%, 100 mW to 50 W RMS, 60 Hz to 10 KHz, 8 ohms, typically below 0.1% DDT™ DYNAMIC RANGE: Greater than 20 dB DDT™ MAXIMUM THD: Below 0.5% THD for 6 dB overload Below 1% THD for 20 dB overload HUM & NOISE: Greater than 90 dB below rated power POWER CONSUMPTION: (DOMESTIC) 200 watts, 50/60 Hz, 120 VAC PREAMP SECTION: THE FOLLOWING SPECS ARE MEASURED @ 1 KHz WITH THE CONTROLS PRESET AS FOLLOWS: PRE GAIN PULL BRIGHT OFF (IN) POST GAIN PULL THICK OFF (IN) POST GAIN @ 10 LOW EQ @ 10 SHIFT @ 300 Hz MID EQ @ 0 HIGH EQ @ 10 PRESENCE @ 0 dB NOMINAL LEVELS ARE WITH PRE GAIN @ 5 MINIMUM...
Dieses Handbuch ist für folgende Modelle:Musikinstrumente - TKO 65 (997.77 kb)