Hughes & Kettner BASSKICK Serie Manual De Instrucciones página 7

BassKick 200 & 300
1
Preamp
In the overall design of a bass amp, the preamp plays a central role.
As interface between the bass player and his instrument on the one
side and the power electronics on the other side, it is decisive for the
feeling when playing and the tonal bandwidth. The inputs of the
BK 200/300 are based on the Tube-Touch-Circuit™, an exceptional
overdrive-resistant circuit that provides for a remarkably natural,
direct playing feeling. Thereby, an inharmonious clipping is almost
excluded.
Active:
Socket for connecting basses with active electronics.
Passive:
Socket for connecting basses with passive electronics.
Gain:
Controller for adjusting the input level.
Punch:
The PUNCH button connects a special filtering before the EQ. The
tone behaviour of the filter corresponds to that of a classical tube amp.
Different from usual pre-filtrations in which a mid-cut does inevitably
lead to a loss of volume, the frequency response of the PUNCH
function is adjusted in such a way that no change of the overall level
is noticeable.
Only BK 300:
The PUNCH is also switchable by footswitch e.g. Hughes & Kettner
FS 1
2
compressor
Behind the Compressor controller, a complex circuit is hidden that
regulates the threshold, ratio, make-up-gain as well as attack and
release time automatically. Like in a tube amp, the energy of the pulse
peaks is not lost but is converted into harmonics. The automatic
„pump-free" control combined with the creation of harmonic
overtones invests every bass pulse with the right pressure and every
tone with the necessary sustain. Without any adverse effects, quasi
in the „twinkling of an eye".
3
Equalizer
The PureParallel™ EQ is based on a circuit concept according to
the example of high-end studio equipment. Filters are usually
connected in series (serially), whereas the signal passes through all
filter levels successively. In contrast to this, the EQ of the BassKick™
200/300 uses the proven parallel filters from the Hughes & Kettner
Quantum™ series. Here, the signal is simultaneously distributed to
all four bands, which considerably reduces unwanted adverse effects.
In doing so, one achieves a very effectively processed signal and at
the same time a maximal orthophony.
Bass:
In an emphasis, attention is drawn to the deep bass share without
noticeably changing the overall level. A de-emphasis shifts the lower
limiting frequency upwards so that the speaker gets more „air to
breath".
Lo Mid:
An emphasis is effected in a rather broadband way. In doing so,
the bass becomes very present, powerful and grumpy. Here, a
nerve-racking squawking does not appear in high settings either.
The de-emphasis is very square edged, similar to a notch filter. By
means of targeted de-emphases, powerful, „hi-fi-similar" sounds are
supported.
Hi Mid:
Here, an emphasis is effected in a very broadband way and invests
the signal with presence and transparency. A de-emphasis supports
round, warm, jazzy sounds.
Treble:
The treble controller is adjusted in such a way that it does, in
connection with HF horn, optimally emphasise the harmonics
of the strings. If one wants to play the fundamental tone alone,
without clear harmonics, the harmonic area can be significantly de-
emphasised by switching off the tweeter. Then, the effect of the treble
controller can hardly be noticed.
4
®
Power amp
DynaClip™ is a dynamic limiter function that has particularly been
developed for an improved bass performance. The energy utilisation
in the deep frequency area is optimised, the acoustic performance is
improved. In the greatest part of all stage situations, the DynaClip™
power amplifier gives the comforting feeling to have something in
reserve.
Master:
The MASTER controller determines the overall volume of the amp.
5
Further connections
and operating elements
HF horn:
switches the tweeter on/off.
Fx Loop:
The loop for effects is designed serially, in the signal chain; it is
situated after the equalizer and before the LINE OUT. That means
that also looped effects are displayed at the LINE OUT. As the signal
® passes through the effects pedal in a serial way, the effect share is
adjusted at the effects pedal itself.
Send:
Connect this output with the input of the effects pedal.
7