Below: 1, bass 2, treble 3, height 1 overtone (harmony)-the control handle is used to adjust the amount-the effect from warm to dirty. 2 Mixing-The control handle is used to adjust the mixing between dry signal and harmonic signal. 3 treble-the control handle is used to increase or decrease the high frequency. 4 SHAPE- used to adjust the balance of a preset curve circuit of the famous Hartke, which can cover the whole bandwidth range. Level 5-Used to adjust the total output. 6 brite-–used to adjust extremely high frequency. 7 On/Off LED–The red LED lights up, indicating that harmony, mixing and Brite functions are busy. 8 On/Off-Manual switch is used for chorus, mixing and Brite functions. 9 Shape switch–Manual switch is used for Hartke shape circuit. 10 Shaped LED- red LED is on, indicating that Hartke shape circuit is in progress. 1 1 bass-The control handle is used to raise or lower the low frequency.
Bass Booster Side Panel Layout Figure A Power Inlet–The power inlet is connected to the AD006 power connector. B Phantom On/Ground Lift Switch
-battery operation for phantom power supply, and/or grounding
Switch between elevators/connections. CLINE OUTPUT- 1/4 inches carries the output signal of socket line level, whether it is affected or not depends on the front/rear switch. D front/rear switch–When the switch is output, the signal indicating the output is the parallel output of the input, and it has no influence. When the switch is pressed, the signal indicating the output is valid.
E direct output -XLR balanced output interface transmits the output signal of mic stage, and whether it is affected or not depends on the front/rear switch.
F parallel output-standard 1/4-inch output socket, which sends the initial signal to the upper amplifier.
G Input–The standard 1/4-inch input jack is connected with active or passive bass. First of all, I was a little surprised when I got this machine. It was a little bigger than I expected, but that's not what surprised me. To my surprise, the workmanship is really great. At this price, with pure metal shell and two true bypass switches, the workmanship and design level are really amazing. The design is also generous, a bit like MESA-BOOGIE's V-TWIN. From the visual effect, I think this one is slightly worse than EBS's, and it is more like a pedal front stage than Adi's box and similar products of other brands.
Let's have a look first. There are seven potentiometers, two real bypass switches, two small switches (measured on the left side of the box), three large cores (one input and two outputs), one XLR port and one power interface. On the right side of the box, there is a bar code sticker and the English words "Design and technology from SAMSON technology in the United States". The box has the words "Made in China" on the lower left. This thing was not sold in Asia at the beginning. I saw a guy on the TALK BASS forum who described that after he used this HARTKE box, he couldn't live without it (he used the bass driver DI of TECH2 1). I think this stuff is a little magical (the key point is that the price is amazing, which is 90 dollars to 1 10 dollars higher than that in the United States. TECH2 1 Yes 140 to 170. Because China has to pay CCC for customs declaration, the price is slightly more expensive than that of the United States, and the market price is about 900 RMB). I wonder if it is made in China. Later, Tai Chi on the forum asked his cousin to bring one back from Japan. Only then did you tell me that it was made in China. Originally, professional equipment in China was praised by foreigners, but then again, PRO TOOLS and E-MU synthesizers were made in China, and Marcus Miller didn't use them as usual.
I prefer to call this front stage (I prefer to call it the front stage, because its DI function is second, and its more powerful function is to be used as the front stage, which is equipped with HARTKE AM-3000 and AM-4000 shape circuits). Great, in fact, it can be regarded as a simple low-power AM-3000), so I started debugging, but the debugging process took me a lot of time because its tuning range was too large. First of all, it has two channels. Through the combination of two true bypass switches, you can get the timbre of three modes: dry piano, shaping and driving, plus the sweep frequency of shaping mode. You can get all kinds of classic bass timbres you can imagine, from Rocco timbre to JACO timbre, from Getty Lee timbre to markus miller timbre, from Chris Mares timbre to Rex Brown timbre, which can be achieved through different combination modes. There are only two levels of equalization, and there is a brightness level, which is quite conservative, but an exaggerated graphic equalization will destroy the harmony of the piano itself (friends who have used graphic equalization or GEB-7 speakers know that it is ugly if they don't tune well), which is why EH's electron tube equalization also uses this conservative equalization plus scanning frequency. Then let's talk about the switch on the right, on/off. When it is turned on, the LED on it will light up. This is the switch that controls the driving channel of the analog tube. After opening, the analog tube drive channel starts to work. At this time, you can use overtone to adjust the size of the driver, and then use MIX to adjust the mixing ratio of the two channels. If the harmonic is screwed to the end, it will cause overload. Generally speaking, the timbre from this channel is warm and modern, and the adjustment range is relatively large, which can be adjusted very much. The shape switch is the enhancement of the dry piano channel plus FREQ shaping. Because of shaping and boosting, the effect is a bit like the traditional active gain compression, which can improve the piano gain and make the piano output signal more peaceful. But different from compression, it is not only the trimming of low frequency and high frequency, but also the "shaping" of the overall output signal (affecting high, medium and low frequency), making the timbre very sweet and pleasing to the ear. Moreover, SHAPE can adjust the sweep frequency through the SHAPE knob, which can get very rich timbre. Personally, I think this channel is more suitable for fingering, and sweet timbre can be obtained at frequencies from 90HZ to 1KHZ, and the characteristics are different. For example, 90HZ is made of wood and has a very elastic timbre, which is suitable for traditional funk and jazz performances. And 850HZ is close to the sweet timbre of stringed instruments (I have heard the electroacoustic version of RAIN by CHRIS MARESH, and I still have an impression of that kind of bass timbre, that is, that feeling), while 1KHZ is a low-frequency bass that is often heard in popular songs. Here are three examples, which are my favorite frequencies. Let's figure out the rest for ourselves. Then open the shape and on/off at the same time, which is equivalent to opening the gain of two channels at the same time. At this time, the bass voice becomes very metallic, steel and a little overloaded (similar to Rex Brown's voice), which I don't like very much.
Another surprise of this HARTKE is that in addition to the front stage, it also has a complete rear stage, which can be connected with passive speakers or headphones. Among similar products, TECH2 1 doesn't have this function, FODERA does, and SADOWSKY and AGUILAR don't know if they have it because they haven't used it.
Then talk about contact. There is a dual-core input here, and then there are two dual-core outputs, one is through HARTKE, and the other is not through HARTKE's internal circuit, so that you can output from here and enter another preamplifier, which may have a good effect when recording, or you can choose to connect an electronic mixer here when playing. Then XLR jack has DI effect, and there are two small button switches beside it. One is to choose to pass without HARTKE preamplifier. If the pass-through is selected, it is equivalent to a preamplifier. If you choose not to pass, it is equivalent to a simple DI box. Another switch is the choice of phantom power supply.
Generally speaking, this Dongdong is still very valuable, with powerful and perfect functions and very cheap price. Compared with similar products, workmanship, quality and timbre are not critical. Let's start with DI I have seen people ask whether the DI function can be realized through line output. Actually, this is a good answer. DI allows bass signals to be input from the MIC port of the table through the cannon port (with or without effects), while the LINE output is directly connected to the box interface. The input signals of the two interfaces are different, so the output signals of the two ports are different, so the contour cannot realize the DI function.
Let's talk about adjustment first. Two switches control the above seven knobs respectively.
On/off control Britt/harmony/mixing.
Shape controls shape.
The bass/treble and volume are effective at any time, without switch control.
Among them, overtone is to simulate the timbre of the electronic tube front circuit (that is, the legendary speaker simulation). MIX is used with this button. MIX is the mixing ratio of dry sound and simulated sound, from dry sound to voiced sound.
SHAPE, as many people know, is to attenuate the selected frequency from 90HZ to 1KHZ. The original text is to reduce a V-notch of 20dB on the waveform to weaken the sound in this frequency band, so as to achieve the purpose of enhancing other frequency bands.
Level is volume.
The enhancement of bass/treble is weakened. Especially when the knob points to 5, it is the original position, not the leftmost position. I understand that position should be the strongest point.
BRITE has enhanced the UHF, the timbre is brighter, the actual effect is not clear, and the estimation is balanced.
Then there are two sockets and switches on the side.
The switch next to the power supply controls the phantom power supply, that is to say, when connecting the MIC port of the table with the Cannon cable, if the table has the phantom power supply function, then there is no need for an external power supply, and this DI can be driven by the wire, which is very convenient.
Then LINE OUTPUT directly uses the box to enter the connection socket of the speaker.
The pre/post switch is used to control whether the signal is processed by the effect, which is suitable for line output and direct output.
The direct output is the big muzzle, that is, this muzzle can accept the power supply of the table and use it as a power supply.
There are only two ports on the other side, one is the input port, there is nothing to say, and the other is the input port. The official explanation is that this port can enter the box head.