Fender BASSMAN 250 Mode D'emploi page 6

B B a a s s s s m m a a
6 B B a a s s s s m m
Fender ® Bass Amplification thanks you for purchasing
the Bassman ® 250 amplifier. The Bassman
designed for players who recognize the need for a
portable amplifier with plenty of power and instinctive
tone controls. The high quality, full featured XLR output
F F r r o o n n t t P P
F F r r o o n n t t P P
VOLUME COMPRESSOR
RATIO
INPUT
CLIP
-6dB PRE OFF
AMP
0 20 SIGNAL
A. INPUT - Plug your bass in here.
B. –6dB - Reduces input sensitivity to allow cleaner
response with high-output bass guitars:
NORMAL—Full input sensitivity.
–6dB—Lower input sensitivity.
C. VOLUME - Adjusts the preamp signal level. Use
together with MASTER {P} to set the overall loudness
of the amplifier.
CLIP—Indicates preamp clipping.
•
flashing is normal when you play hard. Reduce
VOLUME level if you hear distortion when this
LED is on.
PRE AMP SIGNAL—Indicates sufficient signal
•
strength. Turn up your instrument or the
VOLUME level if this LED is off when playing.
D. COMPRESSOR RATIO - Typically used to even out
a musical performance, a compressor provides a
smoothing effect between thumb and fingerstyle
type attack. The compressor control on a Bassman
series amplifier determines the compressor RATIO.
When a signal is loud enough to enable the
compressor to come on, the RATIO determines how
THICK the compression will be. When turned all of
the way down, the RATIO is 1:1 (off), as you turn the
control up, the RATIO increases (2:1, 3:1, 4:1) and the
sound of the compression
noticeable. The ideal setting for compression is
almost inaudible to the ear, but satisfying to the
fingers (a sense of control over the instrument).
All manuals and user guides at all-guides.com
n n ® 2 2 5 5 0 0
a a n n ® 2 2 5 5 0 0
® line was
a a n n e e l l
a a n n e e l l
ROOM
BALANCE CONTOUR BASS
FLAT 0
MAX DEEP BRIGHT MIN MAX -15 +15
2-BAND SEMI-PARAMETRIC EQ
Occasional
becomes
f f e e n n d
is able to send a crisp, clear signal for live or studio use.
Fender ® Special Design Eminence
ensure that the sound is thick, natural and balanced and
will sit fat in your live or studio mix.
LOW MID HIGH MID
700 2k
FREQ
FX
TREBLE BLEND
150 1.5k 800 4k
0 0 0
LEVEL
-15 +15 -15 +15 -15 +15 DRY
E. ROOM BALANCE - Room Balance is for the player
to "dial in the room" as a final touch of EQ. This
feature is OFF when in the center position (start the
EQ process with this control centered; dial it in last).
Turning the control clockwise emphasizes highs,
while de-emphasizing lows (great if the stage sound
is dark and muddy). Turing the control counter-
clockwise creates the opposite effect; emphasizing
lows while de-emphasizing highs (helps with bright
hardwood floors). This frees up the EQ of the amp to
design your TONE instead of compensating for poor
room acoustics.
F. CONTOUR - This feature is for scooping out the
mid-range signal, a sound typically desired for thumb
style playing to achieve a modern "hi-fi" type bass
tone. Turning this knob clock-wise increases the cut
of the mid range, increasing the scooped sound.
G. BASS - Adjusts low-frequency tone character.
H. 2-BAND SEMI-PARAMETRIC EQ - Having more
®
control over the mid-range frequencies is very
important in defining your bass tone. This is why your
Bassman ® comes equipped with semi-parametric
control (1 band on the Bassman
Bassman ® 150 & 250). The Frequency knob is there
to determine WHERE you would like to adjust the
sound. Level is there to determine whether you
more
would like that particular frequency to be boosted or
cut (+/-15 dB). Adding upper mids (and favoring the
bridge pickup on your instrument) creates a biting
tone that is great for Jazz Fusion type melodic lines.
Cutting mids allows for separation between the lows
and highs, resulting in a tone well suited for slap-
style funk.
I. TREBLE - Adjusts high-frequency tone character.
d e e r r . . c c o o m m
® USA speakers
LINE LINE MASTER
LEVEL OUT
WET PRE/ MIN MAX GND MUTE
POST LIFT
0
® 100, 2 bands on the
POWER
CLIP
PWR
20 AMP