Ashdown ROOTMASTER EVO III Serie Guia Del Usuario página 4

ROOTMASTER EVO III
Secondly, if more control is required then the 340hz and 1.6Khz controls
can also be used to tailor the E.Q. In the regions between the main tone
controls. This provides a very versatile equalisation section, it is simple
to understand and operate, yet provides a wide degree of variation. It
retains the simplicity of a three control tone section but provides the
flexibility of a graphic equaliser.
COMPRESSION
Adding a small amount of compression gives a fat bottom end to the
sound and allows a greater volume of amplification to be used without
the playing peaks distorting the amplifiers output stage.
You will also find that this will add definition to your playing bringing
out notes within a run more clearly as it evens out the dynamics of your
playing. A large amount of compression can be used as an effect but it
will tend to reduce the dynamics in your playing to such an extent that the
volume of the note will be the same no matter how hard or soft you hit
the string. Compression also adds sustain to notes making them longer
before they die away.
The compression level control adjusts the degree of compression applied
to the bass signal. For this to function correctly the input level must be
correctly set as described in the input control section above. When the
input level is correctly set there will be hardly any difference in volume
between compression in and compression out. This is because the
RM automatically compensates for the reduction in level that would be
apparent when compression is added by increasing the overall gain to
ROOTMASTER EVO III
USER GUIDE
restore the volume to its pre compression level, because of this you may
notice an increase in background noise with high compression settings.
Compression is switched in/out with the push button adjacent to the
compression level control.
OVERDRIVE
This is a valve/tube emulated overdrive that is variable from a slight 'edge'
or 'warmth' through to a fairly aggressive overdrive/distortion effect. The
actual degree of overdrive applied to the bass signal is also dependent
on the setting of the input level control. The higher this is set, the greater
level of overdrive can be applied using the overdrives own rotary control.
Overdrive can be switched in with the push button above and to the
right of the overdrive rotary control. The amount of drive applied to the
overdrive circuit is adjusted using this rotary control. The over-driven bass
signal is applied in parallel with the dry bass signal to ensure you never
lose the full bottom end from your bass. Overdrive is situated after the
compression allowing for a sustained over-driven bass signal to be pro-
duced by adding a degree of compression along with the overdrive itself.
SUB HARMONICS
This section produces sub harmonics an octave below the notes being
played. The level of these sub harmonics relative to the straight bass
sound can be adjusted using the level control. This is very effective in
thickening the sound and you will find in use that only a small degree
of this lower octave is required to really fill out the sound and provide a
character that is not possible by any other means.
USER GUIDE