Genz-Benz 12.2 Musical Instrument Amplifier User Manual
Contents
1. e L 5533 PWR AMP B OUTPUT MUTE FOOTSWITCH GE SR Ses UTPU ISOLATED BUSHING FET CHAN 7 2 FET CHN NN YO EFX SEND EFX RECEIVE amp c cct i b MIN AV MA Cc A VR10 NO FET VOLUME GAIN VARIABLE EQ Sw5 80HZ FET CHAN gt L LOW MID 120HZ 2KHZ TALLY LED7 2 HIGH MID 300HZ 5KHZ H 4KHZ LED9 INPUT CLIP DETECT LED8 BLOCK DIAGRAM SHUTTLE MAX 12 2 Declaration of Conformity 89 336 EEC EMC Directive Manufacturer s Name Genz Benz a division of KMC Music Corporation Manufacturer s Address 7811 East Pierce Street Scottsdale AZ 85257 U S A Product Type Audio Amplifier Model Number SHUTTLE9MAX all versions Operating Power Condition 100 115 230 240 V 50 60 Hz Effective Date 01 01 2012 Conforms to the Following Standards X EN 55013 2001 A1 2003 X EN 55020 2002 A1 2003 X EN 60065 2001 A1 A11 A12 A2 X IEC 61000 3 3 1994 A1 2001 X IEC 61000 4 2 X IEC 61000 4 3 X IEC 61000 4 4 X FCC 15 107 and 15 109 X RoHS Directive 2002 95 EC X WEEE Directive 2002 96 EC X CE Mark LV Directive 73 23 EEC GENZ BENZ 7811 E Pierce St Scottsdale AZ 85257 Ph 480 941 0705 Fax 480 946 2412 www genzbenz com A division of KMC Music Corporation Bloomfield CT Genz Benz and Shuttle Max are trademarks of Genz Benz and KMC Music REV 1 TIP RIN i HEADPHONE OUTPUT ISOLATED BUSHING2. FRONT PANEL INPUT The SHUTTLE MAX 12 2 is equipped with a standard 74 unbalanced input The input sensitivity range is from 40 mV to over 1 6 volts The input impedance is gt 500K ohms The input stage contains a precision high order active high pass filter more effective and less intrusive than the more common 6 dB filters and an RFI filter radio frequency interference to eliminate unwanted noise The INPUT gain stages consist of a feedback type variable gain circuit that provides wide range continuously variable gain with minimal noise The preamp contains an FET input amp circuit based on our highly regarded GBE series touring amplifiers INPUT SIGNAL MUTE SWITCH With this MUTE switch you can place the amplifier and Direct Output in standby mode between sets without having to change any of your amp settings This feature can also be used for silent tuning since the TUNER OUT stays active when the MUTE is engaged Ared LED indicates when the MUTE is active This function is not operable from the included 5 button footswitch however a rear panel jack is provided so that a standard single button footswitch can be used to remotely engage this function The switch on the amplifier s faceplate must be in the out position for the footswitch to work properly FET TUBE CHANNEL SELECTOR SWITCH This switch is provided to select either the FET channel or the TUBE channel This function can be remotely engaged via the 5 button foots
3. GENZ BENZ SHUT TOCE le c Owner s Manual FET CHANNEL ACTIVE PARAMETRIC za BAAI I bah PEAK GENZ BENZ SIGNAL 15 HZ SKHZ 15 415 PROTECT HIG OPERAT 2 TUN 10 15 15 15 Low C pom ze t iic ame ACTIVE PARAMETRIC GLOBAL SIGNAL SHAPE AIT 5 d AR m gt m mon wf 00 s UT LOW SL P RM lr a PRODUCT DESCRIPTION The SHUTTLE MAX 12 2 bass amplifier has been designed with our unique ultra light unified design process yielding a 1200 dt 2 x 600 watt professional high powered tour class bass guitar amplifier weighing only 6 75 lbs The SHUTTLE MAX 12 2 is the 2nd generation of Genz Benz SHUTTLE MAX amplifiers which now incorporates our new 3 Dimensional Power Management circuitry Our proprietary 3DPM technology insures greater and more solid sounding output while retaining the feel and playability of a more traditional tube based power amplifier When driving the power amp hard the player can feel increased heft and girth of the individual notes while maintaining dynamics and articulation The result is an amplifier that achieves a more 3 dimensional tone and feel like a tube amplifier power section without the anemic flatness other amplifier designs can exhibit This compact design blends the best of analog and digital platforms to produce the ultimate in warmth punch and power The SHUTTLE MAX 12 2 is equipped with a 74 unbalanced instrument input input stage
4. must be obtained by calling 480 941 0705 This warranty is valid in the US and Canada only For all products sold outside the USA warranty is handled through our international distributor for each country For more information visit our website www genzbenz com BLOCK CIRCUIT DIAGRAM lt gt as S24 BOOST FOOTSWITCH HE ATK SNES FS sWiot GD z TIP TIP T 2 DIRECT TIP TIP ozg T Aoi DE TEE J108 I I 5109 c oot Olg TUBE CHAN MASTER 2 2 MASTER PRE POST WT TALLY EFX SEND EFX RECEIVE TIP SW102 i 4106 oun T 397 m uziift Te VR20 TUBE GAIN 2 2 TUBE CHAN we o o r o E i MASTER VOLUME EFX SEND EFX RECEIVE eeeeree LED10 LED11 LED12 J103 kaon GHAN taon TUNER OUTPUT vi zi sal see SW2 FS iF BOOST MID SCOOP HE ATTACK ISOLATED BUSHING EA ES SW6 FS SW7 FS SW8 FS fie Se Sal OS f w com Lud VR2 VR17 VR18 VR19 AV 1 5 q F BW V MIN 4 00 TUBE VOLUME SPEAKER gt AV MAX 19 VARIABLE EQ LF BOOST MID SCOOP HF ATTACK AV MIN 00 3D POWER PWR AMP A OUTPUT J1 C2 LED1 C A 2 L 80HZ AV MAX 3 MANAGEMENT INSTRUMENT INPUT TUF LOW MID 120HZ 2KHZ CURVE B 5 ISOLATED BUSHING iov iui GAIN HIGH MID 300HZ 5KHZ 2 CHASSIS z Ws Sw4 H 4KHZ LED4 1 LED15 2 INPUT CLIP RING PROTEGE gt LED16 im LED6 MIX r OPERATE zgzg MSF un SIGNAL OUTPUT PEAK t TIP TIP zg Ri BEL oS ESE o LDS J102 I p DETECT p DETECT RET GAINS tr Begun 4 AUX IN 2 LED14 LED13 SPEAKER dd o 0000 0 0 0 0 0 0 0 0 0 0 0 0 l
5. control of our cabinet MAXIMUM AVERAGE POWER VOLTAGE SELECTOR GENZ BENZ FOOTSWITCHES EFFECTS LOOPS AUX IN DIRECT OUT CHANNEL SWITCH BALANCED CONSUMPTION 800 WATTS LINE LEVEL LINE LEVEL o o ShuttleMAX 12 2 MASTER TUBE CHAN FET CHAN e TOTAL OUTPUT 1200 WATTS POWERAMP A AND B 4 OHMS SS RSS POWER AMP A POWER AMP B J wW Z WO INPUT POWER 100 240V 50 60HZ SPEAKER OUT SPEAKER OUT MAINS FUSE 2 INTERNAL T 5A 250V A OHM MIN MUTE SWITCH 4 OHM MIN RSS SEND SEND SEND N PREAMP OUT PREAMP OUT PREAMP OUT UNIVERSAL POWER SUPPLY X Q aT a PHANTOM PROTECTED A WY O POWER AMP IN RECEIVE RECEIVE RECEIVE LIFT POST LINE NO USER SERVICEABLE PARTS INSIDE P Bm ER praes pear Zab ido not Designed and Inspected in The U S A e X h X fi SN Y 7 WN ZW Ouvir Assembled in Taiwan Q Q Q V N MIC Z NL4 1 1 NL4Q 1 1 ERAN XXXXXXXXXX 375 WATTS 8 OHMS 375 WATTS 8 OHMS HEADPHONES 600 WATTS 4 OHMS 600 WATTS 4 OHMS 2 BB Ly cr w7 r c PIN 1 EQ REAR PANEL DIRECT OUTPUT An XLR balanced DIRECT OUTPUT is provided for connection to a PA system or directly into a recording studio console or A D converter The DIRECT OUTPUT signal may be switched between MIC and LINE level PRE and POST EQ and the audio signal ground may be connected or lifted from pin 1 with the GND LIFT switch to eliminate hum due to ground loops The DIRECT OUTPUT is fully protected ag
6. repair facility for service WARNING The use and operation of this device constitutes an agreement of full release of any and all liability connected with its use Only persons familiar with the operation of high powered professional audio equipment should attempt to operate this device n addition by use of this device the user agrees to hold Genz Benz and its designers sales agents and all other affiliates and related parties harmless in the event of any accident injury damage or loss resulting from such use e The manufacturer s sole responsibility is to provide a warranty on the specified performance of the product under normal operating conditions for a period of 3 years WARRANT Y Genz Benz warrants the SHUTTLE MAX 12 2 to be free from defects in materials and workmanship for a period of 3 years from the date of purchase when purchased from an authorized Genz Benz dealer This warranty does not cover normal wear and tear incurred from the normally designed use of the product This warranty is effective only if a copy of the original sales receipt is presented at the time of warranty service This limited warranty is completely transferable to any subsequent buyer as long as the original sales receipt is also transferred to such subsequent buyer All warranty service must be performed by a Genz Benz authorized service center Before returning any unit for service a returned merchandise authorization number RMA
7. AMP INPUT patch point SEND output and RETURN input are nominal 4 dB level Series devices such as compressors and gates require that the signal flow out from the SEND jack on the amplifier through the processing device and back into the RETURN jack on the amplifier Parallel or mixed signal devices such as chorus delay and reverb processors require that the signal flow out of the SEND jack on the amplifier and into the processing device where it is split into a dry unaltered signal and a wet processed signal On the processing unit you will use the mixed signal output to return the signals both wet and dry to the RETURN jack on the amplifier The ratio between the wet signal and the dry signal is heard as the amount of effects added back to the original signal which is controlled by the mix knob also called balance on the effects processor This may be a real knob as in the Alesis Microverb or software controlled as in the Yamaha SPX 90 SPX900 or SPX 990 Set the input sensitivity on the effects processor according to the manufacturer s instructions The front panel MUTE switch will also mute all of the SEND outputs when engaged FOOT SWITCHES A DIN connector is provided for connecting the included 5 button footswitch Model F S STL MAX This footswitch controls channel switching and mixing along with all the global SIGNAL SHAPE circuits Additionally a 74 footswitch jack is also provided for switching the MUTE
8. MAX 12 2 contains two active 4 band equalizers one for the FET and one for the TUBE channel each with 2 sweepable parametric midrange frequency networks LOW MID and HIGH MID that offer 15dB of cut or boost with a bandwidth of approximately 1 octave wide These are slightly over lapping filters to provide ultimate flexibility Parametric filters are typically but not always used to reduce or remove offending frequencies in the instrument s pickup response or to boost response to achieve a particular voicing Spend some time experimenting so that the process becomes creative as well as corrective LOW FREQUENCY CONTROL The LOW frequency EQ section is an 80 Hz shelving curve with 15dB of cut or boost LOW MID FREQUENCY FILTER The center frequency of the LOW MID filter is continuously user adjustable from 120 Hz to 2 KHz with a single control The LOW MID GAIN control sets the amount of level cut or boost for the specific frequency set by the LOW MID FREQUENCY control HIGH MID FREQUENCY FILTER The HIGH MID frequency is continuously user adjustable from 300 Hz to 5 KHz with a single control The HIGH MID GAIN control sets the amount of level cut or boost for the specific frequency set by the HIGH MID FREQUENCY control HIGH FREQUENCY The HIGH frequency EQ section is a 4 KHz shelving curve with 15dB of cut or boost NOTE These equalizer networks are similar to those found on professional sound consoles and are very useful tools The
9. Model STL MAX BAG Do not operate the amplifier inside the carry bag as the chassis aluminum construction and cooling fan inlet vents are part of the amplifier s cooling mechanism Specifications STL MAX 12 2 Rated Power 600 Watts 4 ohms x 2 yielding 1200 watts Dimensions 3 5 H X 13 5 W X 13 D Weight 6 75 LBS SAFE OPERATING REQUIREMENTS Never set an amplifier on anything that will tip over or collapse under its weight Provide a minimum distance of 25 4 mm 1 inch around all sides of the amplifier for sufficient ventilation The ventilation should not be impeded by covering the amplifier s vent openings with items such as newspapers tablecloths curtains etc No naked flame sources such as lighted candles should be placed on the SHUTTLE MAX 12 2 amplifier This amplifier should not be exposed to dripping or splashing and no objects filled with liquids such as vases or drinks shall be placed on this product The SHUTTLE MAX 12 2 amplifier should be connected to a mains socket outlet power receptacle with a protective earth ground connection at all times The amplifiers mains plug power plug is considered the disconnect device and the connection must remain accessible at all times This amplifier is capable of producing sound pressure levels that may cause hearing loss There are no user serviceable parts and hazardous operating voltages are present inside this unit Always consult a qualified
10. The SHUTTLE MAX 12 2 utilizes selectable universal power supplies that operate from 100V to 240 volts 50 to 60 Hz for worldwide use Simply set the voltage selector switch to the appropriate AC mains voltage BEFORE connecting to the power source Utilize the proper IEC cord set appropriate for the country the product is being used For countries using 100V 110V 115V and 120V AC mains select the voltage selector switch to the 115V position For countries using 220V 230V and 240V AC mains select the voltage selector switch to the 230V position There is no externally accessible AC mains line fuse The internal fuse is integral to the SMPS power supply and is not user serviceable This fuse will not fail except under very unlikely fault conditions to the SMPS and if this occurs a qualified service technician is required to correct the problem CHASSIS DESIGN The SHUTTLE MAX S ULTRA LIGHT DESIGN utilizes the highest quality aircraft grade computer machined aluminum chassis To clean the amplifier nothing more than a damp cloth and a little bit of glass cleaner like Glass Plus should be used Accessories RACK MOUNTING The SHUTTLE MAX is designed for optional rack mounting in a standard EIA style 19 equipment rack or tour case An optional rack mounting kit is available from your dealer Model STL MAX RK GIG BAG A custom padded carry bag with shoulder strap is available as an optional accessory from your dealer
11. US INDICATORS The POWER light indicates that the amplifier is ON and the low voltage power supplies are active The red PROTECT LED indicates that the amp is in PROTECT mode This LED may flash during power turn on and turn off This is normal It will also illuminate during any internal fault condition If this happens turn the amp off and consult a repair technician The blue SIGNAL LED indicates that the power amplifier has received signal over several watts output and is performing properly The Amber PEAK LED indicates that the power amp has reached maximum power Under high output conditions it is normal that this LED will light with the strongest pulses of the signal Driving hard beyond this point will cause the amplifier to gradually begin audible distortion NOTE The PROTECT circuit senses both AMP A and AMP B power amp modules It is possible that if one module goes into the PROTECT mode the remaining power amp module will perform properly In an emergency situation if the PROTECT circuit engages during use it is possible to unplug the failed power amp speaker cable at the amplifier connection and continue on with the remaining power amp module to complete the performance Additionally this amplifier utilizes redundant backup preamp power supplies so that in the unlikely event of a power amp module failure the backup power supply will automatically take over and supply the preamp insuring that the remaining module and direct outp
12. ainst 48 volt phantom power and may be used for driving microphone lines of up to 300 feet without problems AUX INPUT A 1 4 unbalanced line level AUXILIARY INPUT is provided It sums directly to the main output bus and is controlled by the MASTER VOLUME control This input is ideal for practicing with recorded tracks from a CD player iPOD or MP 3 player This input is a tip ring sleeve type jack with built in summing resistors that sum left and right signals when used with a stereo cable This input will also work with a mono tip sleeve plug Adjust the level of the playback source to balance with the bass guitar s volume TUNER OUTPUT The SHUTTLE MAX 12 2 is equipped with a fully isolated TUNER OUTPUT This jack is located after the front end scaling preamplifier but pre SIGNAL SHAPE circuits and pre EQ This output may also be used to drive a separate direct box or high impedance recording device The TUNER OUTPUT remains active when the amplifier is muted with the front panel MUTE switch allowing silent tuning on stage 5 EFFECTS LOOPS The serial EFFECTS LOOP jacks are provided to allow access to the signal for the purpose of inserting signal processing equipment such as compressors chorus delay and reverb processors Individual pre EQ loops are provided for the TUBE channel and the FET channel An additional MASTER post EQ loop is provided for the summed TUBE FET signal This loop may also be used as a PREAMP OUTPUT or POWER
13. amplifier uses digital PWM techniques similar to those in more familiar digital to analog converters to reduce the size and weight by a factor of 10 times that of a comparably rated conventional Class AB amplifier Essentially a Class D amplifier converts the analog signal into a logic level PWM digital signal with a digital to analog converter level shifts this PWM signal up to a higher voltage and current and then reconstructs the analog signal by passing it through what is essentially a power digital to analog converter Additionally we developed our proprietary 3DPM technology to give a distinctly analog feel and sound to the class D platform This system provides exceptional performance even for low frequency applications such as bass guitar SPEAKER OUTPUTS The SHUTTLE MAX 12 2 utilizes dual power amp modules Amp A and Amp B each with its own Neutrik Speakon connector wired 1 1 The minimum speaker load per power amp is 4 ohms Do not ground either the or the outputs The SHUTTLE MAX12 2 dual power amp design offers a variety of available output power choices One 8 ohm load either Amp A or Amp B driven 3 5 watts One 4 ohm load either Amp A or Amp B driven 600 watts Two 8 ohm loads Amp A and Amp B driven 750 watts One 4 ohm load Amp A and one 8 ohm load Amp B 975 watts Two 4 ohm loads Amp A and Amp B driven 1200 watts POWER INPUT VOLTAGE SELECTOR SWITCHES
14. clip detector mute switch with LED indicator FET and 12AX7 tube preamps each with high low gain stage settings and 4 band active equalization with 2 sweepable midrange bands 3 switched SIGNAL SHAPE filters with level adjustments master volume proprietary 3DPM technology tuner out aux input 3 effects loops balanced direct output with ground lift pre or post EQ and mic line switches headphone output 2 Neutrik NL 4 Speakon speaker jacks and a 5 button footswitch The power amp design is a powerful light weight Class D design and is supported by a state of the art high frequency Switch Mode Power Supply SMPS which does away with the weight of a traditional power transformer The SHUTTLE MAX 12 2 uses two 600 watt amplifier modules both driving full output power into 4 ohms speaker loads 1200 watts total output The power supply is usable from 100 240 volts lending itself well to international touring players 7 FET One 777 ACTIVE PARAMETRIC EQUALIZATION STATUS cen BEY GOOEY omen mee le2 ce protect 15 as as 15 15 aia 15 H GAIN GAIN Ls VOLUME LOW LOW MID m MC HIGH MID HIGH b CHANNEL E CHANNEL ACTIVE PARAMETRIC EQUALIZATION GLOBAL SIGNAL SHAPE Qssdp d CHORO ORO ROROI OO TO ll ze 120HZ 2KHZ ns la 2 uat 15 15 10 FREQ MASTER GAIN A VOLUME LOW unas LOW MID e HIGH moy HIGH L F BOOST MID SCOOP H F ATTACK VOLUME
15. ded cabinet that you reduce the high frequency settings on the amp or cut the tweeter level control of our cabinet O L LED In the TUBE channel this LED senses the condition of the input signal after the GAIN control and also senses and warns of possible clipping in the EQ network The O L circuit does not sense distortion or overdrive in the tube Your ears are the best judge of that for your desired tone The O L sensing circuit is very dependent upon the output of the bass instrument pickups the GAIN and VOLUME settings of the TUBE channel and the amount of EQ used i e the more radical the EQ boost and volume level of the preamp VOLUME control the more possibility of an overload condition If overloading of the TUBE channel is occurring adjusting the preamp VOLUME and or preamp GAIN controls down will reduce or eliminate the over load condition and adjusting the MASTER VOLUME control up will return the overall loudness NOTE It is OK for this LED to flash occasionally with your hardest notes played and it may flash even if the FET channel has been selected for use This is normal and is due to the mixing topology for the 2 channels PREAMP VOLUME CONTROL This control sets the volume of the preamp after the input and TUBE channel gain stages and before the EQ controls Use this control in conjunction with the PREAMP GAIN control and the MASTER VOLUME control for your overall output level ACTIVE EQUALIZATION both channels The SHUTTLE
16. function separately Any single button latching style footswitch will operate this function HEADPHONE OUT A 1 4 TRS jack is provided for connection to headphones for silent practice use A speaker load is not required Do not connect this output to anything but headphones POWER AMPLIFIER The SHUTTLE MAX 12 2 uses 2 state of the art Class D power amplifiers with high frequency Switch Mode Power Supplies SMPS to achieve unprecedented high performance and light weight packaging Switch Mode Power Supplies convert the AC line directly to high voltage DC then the precision PWM pulse width modulation inverter creates a new AC power signal at a frequency more than 1000 times higher than the original wall frequency of 50 60Hz This new high voltage high frequency power signal is then fed into a custom high frequency transformer that steps the voltage down a high frequency rectifier and high ESR filter capacitors finish the process off by converting the high frequency AC signal back to the DC voltages that the amplifier s internal circuitry uses One advantage of this conversion process is that the DC power supply rails are refreshed more than 1000 times more often than in traditional linear supplies thus reducing annoying hum in the audio signal The high frequency switching is used to reduce the size and weight of the magnetic and filter components while increasing the performance by recharging the power supply rails more often The Class D
17. g you should back down either your preamp GAIN control or preamp VOLUME control so that it blinks with only the very hardest notes played or not at all f you set radical EQ settings this may impact the level of your signal causing the O L light to engage more If so then reduce your preamp VOLUME control a little more n the TUBE channel the O L light will not sense tube overdrive so you will be able to get varying amounts of tube compression or distortion without the O L light coming on If you do see the O L light blinking on the TUBE channel then you will want to reduce your preamp VOLUME control As you fine tune your settings and levels and get your tone ready for a performance level of output it is suggested you try to keep your preamp VOLUME levels and your MASTER VOLUME levels operating in approximately the same range generally between 9 3 o clock This is not a hard fast rule but it is a good starting place NOTE In the TUBE channel if you are using an aggressive tube distortion your preamp GAIN may be set very high and your preamp VOLUME set very low to keep the O L LED from lighting In this case the MASTER VOLUME will primarily be used to set your final output level For heavy distortion you may want to use the HIGH GAIN switch with a hot Active bass It is generally recommended when using heavily distorted tones with a tweeter loaded cabinet that you reduce the high frequency settings on the amp or cut the tweeter level
18. nction with the preamp VOLUME control allows you to set the signal level to the EQ section The MASTER VOLUME then controls the total output level of the power amp O L LED In the FET channel this LED senses the condition of the input signal after the GAIN control and also senses and warns of possible clipping in the EQ network The O L sensing circuit is very dependent upon the output of the bass instrument pickups the GAIN and VOLUME level settings of the FET channel and the amount of EQ used i e the more radical the EQ boost and volume level of the preamp VOLUME control the more possibility of an overload condition If overloading of the FET channel is occurring adjusting the preamp GAIN and or preamp VOLUME down will reduce or eliminate the over load condition and adjusting the MASTER VOLUME up will return the overall loudness NOTE It is OK for this LED to flash occasionally with your hardest notes played and it may flash even if the TUBE channel has been selected for use This is normal and is due to the mixing topology for the 2 channels 2 PREAMP VOLUME CONTROL This control sets the volume of the preamp after the input and FET channel gain stages and before the EQ controls Use this control in conjunction with the GAIN control and the MASTER VOLUME control for your overall output level TUBE CHANNEL GAIN SWITCH LOW HIGH This switch sets the gain sensitivity for the TUBE channel It works both like an Active Passive s
19. se active equalizers are very wide response type filters and a little tweaking goes a long way 3 SIGNAL SHAPE The SHUTTLE MAX 12 2 is equipped with 3 SIGNAL SHAPE circuits each with a level control to adjust the amount of level the tone shaping circuit produces L F BOOST This filter adds low frequency peaking gain in the 35 65 HZ band range This is especially effective when used with a 5 string bass The level control has a range of 0 to 7dB This filter is unique in that it provides compound asymmetrical slopes critical to achieving well controlled low frequency extension MID SCOOP Engaging this switch generates a midrange frequency cut centered at 600 Hz The level control adjusts the amount of cut from Odb to 15dB H F ATTACK This filter adds high frequency peaking gain in the 2 5K 16 KHz range The level control has a range of 0 to 7dB LED indicators are provided to visually show when each filter is engaged Each filter Q bandwidth is optimized for its particular function and is different for each filter These functions are also foot switchable from the 5 button footswitch The switches on the amplifier s faceplate must be in the out position for the footswitch to work properly MASTER VOLUME The MASTER VOLUME control adjusts the overall volume of the amplifier and the effects return Typically best results are obtained when this control is operated between the 9 00 and 3 00 positions MASTER SECTION STAT
20. ut signal continues to function normally 3DPM 3 DIMENSIONAL POWER MANAGEMENT Our proprietary 3DPM technology insures greater and more solid sounding output while retaining the feel and playability of a more traditional tube based power amplifier When driving the power amp hard the player can feel increased heft and girth of the individual notes while maintaining dynamics and articulation The result is an amplifier that achieves a more 3 dimensional tone and feel like a tube amplifier power section without the anemic flatness other amplifier designs can exhibit GENERAL GUIDELINES FOR SETTING YOUR INPUT SIGNAL There are a wide variety of variables that can impact your signal and tone in the design of all amplifiers Below are some basic guidelines to consider when begin ning to set your tone on the SHUTTLE MAX 12 2 Begin a basic set up for the FET and TUBE channels with all EQ settings set at the 12 o clock position f you are using an Active bass begin with the channel GAIN switches in the LOW positions For a Passive bass begin with these set in the HIGH position e Set the GAIN control for each channel to approx 10 12 o clock positions Now bring up the preamp VOLUME control to approx the same position 10 12 o clock At this time you may want to set the MASTER VOLUME to the 9 o clock position From this point you can set your EQ settings to your desired taste e f the O L light on either channel is blinkin
21. witch The front panel switch must be in the out position for the foot switch to engage the function CHANNEL MIX SELECTOR SWITCH When engaged this switch combines the signal of the FET and TUBE channels together This function can also be remotely engaged via the 5 button footswitch The front panel switch must be in the out position for the footswitch to engage the function FET CHANNEL GAIN SWITCH LOW HIGH This switch sets the gain sensitivity for the FET channel It works somewhat like an Active Passive switch The amber LED indicates that the HIGH setting is selected The difference between the LOW and HIGH gain positions is approx 10dB Since there is a GAIN Switch provided for each channel this allows the player to set different gain structures for the FET or TUBE channels For the cleanest possible signal we recommend that the LOW setting be used for basses with hotter output or active pickups generally most basses using one or two 9 volt batteries to power their on board preamp or those with an output sensitivity over 1 Volt and the HIGH gain setting be used for basses with lower output or passive pickups PREAMP GAIN CONTROL This control sets the gain level of the preamp to the output of your bass If the red OVERLOAD O L LED flashes when setting up your input levels reduce the preamp GAIN control to eliminate any input preamp overload You may want to check the setting of the GAIN switch as well This GAIN control in conju
22. witch and like a gain boost switch The amber LED indicates that the HIGH setting is selected The difference between the LOW and HIGH gain positions is approx 10dB Since there is a GAIN switch provided for each channel this allows the player to set different gain structures for the FET or TUBE channels If warm clean tube tone is desired we recommend that the LOW setting be used for basses with hotter output or active pickups generally most basses using one or two 9 volt batteries to power their on board preamp or those with an output sensitivity over 1 Volt and the HIGH gain setting be used for basses with lower output or passive pickups If tube compression growl or all out distortion is desired then the HIGH gain setting may be used regardless of the pickup sensitivity The hotter the pickup output the more tube distortion can be achieved PREAMP GAIN CONTROL This control sets the input sensitivity gain of the 12AX7 tube preamp after the GAIN switch The design of the TUBE GAIN control allows you to set your tone from rich clean tube tone to mild tube compression to warm tube growl to all out aggressive tube overdrive The volume of the signal is then controlled by the TUBE preamp VOLUME control and also the MASTER VOLUME control The higher the GAIN settings are the lower the channel VOLUME will need to be set so as not to overload the EQ network Note It is generally recommended when using heavily distorted tones with a tweeter loa
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