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We
truly hope that this "instrument" helps bring out
the best in your playing and adds to the enjoyment of your profession.
We
would like to sincerely thank all the musicians and engineers
that helped us with this project and especially Walter Becker,
Neil Stubenhaus, Phil Chen, Keith Jones, Jimmy Haslip, Michael
Rhodes, Phil Lesh, Dan Schwartz, Dann Glenn and Dwayne "Smitty"
Smith.
SPECIFICATIONS
- ELECTRONICS
Note: All measurements were taken with
a line voltage of 120VAC.
Maximum
power at 1KHz under clipping: 120 Watts RMS @ 8 ohms, 160 Watts
RMS @ 4 ohms
Power
Amp Distortion (1KHz)
0.02% THD, 100 Watts RMS @ 8 ohms
0.03% THD, 100 Watts RMS @ 4 ohms
Intermodulation
Distortion @ 8 ohms, 100 Watts RMS, 60/7KHz, 4:1, =0.05%
Frequency
Response (power amp): -3db at 10 Hz and 22KHz
System
Distortion
(Gain and Master Volume full, enhancer and tone controls set
flat,
1KHz): 0.5% THD
Sensitivity
(for full output @ 8 ohms, 1 KHz)
Passive/Active Input Jack = 10 millivolts
Active Input Jack = 50 millivolts
Input
Impedance
Passive/Active Input Jack = 800K ohms
Active Input Jack = 60K ohms
Effects Return Jack = 27K ohms
Output
Impedance
Effects Send Jack = 100 ohms
Line Out Jack = 100 ohms
Tuner Out Jack = 100 ohms
Headphone Jack = 100 ohms
Signal
to Noise Ratio
unweighted -72db
(7 millivolts typical, mostly hum)
Equivalent
Input Noise: 2.5 micro-volts
FRONT
PANEL FEATURES
PASSIVE/ACTIVE
This input can and should be used if your
instrument has passive electronics (no built-in preamp). Some
pickups such as EMG, etc. employ batteries for operation and
will work perfectly using the Passive/Active input. Technically
speaking, this input should be used if your instrument has an
output voltage of 1 volt RMS or LESS. Consult your owners manual
or ask the manufacturer if you are unsure.
NOTE:
If you hear a small amount of distortion and neither the Preamp
Clip LED or Power Amp clip LED are activated, try using the
Active Input Jack. Some built-in preamps such as those made
by Bartolini can be used in the Passive/Active input.
If
you would like to overdrive the first TUBE stage, this can be
accomplished by using a preamp between your instrument and the
Passive/Active input. To obtain optimum sound when trying this,
make sure the Preamp clip LED is not activated. If this occurs,
turn down your Gain Control. The first preamp stage is NOT monitored
by the Preamp clip circuit for this reason.
ACTIVE
INPUT
The Active input jack should be used with
instruments having a built-in (on board) preamp that will produce
signals over 1 Volt RMS. Known basses that should use the Active
input only are Kubicki X-Factor and some Ovation Electrics.
Some really "hot" pickups installed in your instrument
may find the Active input more compatible. The best judge is
your own ears. If you are using KEYBOARDS (such as a Roland
D-50, etc.) with the Baby Blue, we have found the best input
to be the Active input.
NOTE:
Using the Active input with passive basses (active instruments
will always employ a battery) may result in a loss in high end
transients. Players who roll off their high end starting at
about 2K to 3KHz may find this input more to their liking.
If
you hear some distortion on your active bass and are using the
Active input jack, CHECK YOUR BATTERY!! Also, make sure none
of the overload indicators are lit.
PREAMP
CLIP LED
The preamp clip LED will become lit whenever
the preamp, tone section or output buffer reach clipping (run
out of headroom). This function does NOT monitor the first tube
stage of the Passive/Active input jack (see that section for
more info). In the event the preamp clip indicator lights, turn
down the Gain control. Since the preamp clip LED also monitors
the tone section, boosting any one of the tone controls can
cause the LED to activate. In any case, turning down the Gain
control will correct the
situation.
NOTE:
Constant clipping of the preamp will not harm the electronics
in your Baby Blue, however, damage can occur to some speakers
due to near-DC content present in a clipped waveform. Overdriving
the first tube stage as described in the Active/Passive input
jack section, does not apply to the above note.
GAIN
CONTROL
The Gain control adjusts the volume of
the preamp section. After the tone controls, Aural Enhancer
and any effects you may be using have been set to your liking,
the Gain control should be set to where the Preamp clip LED
barely flashes upon striking your loudest note. After that has
been accomplished, use the Master Volume to set the desired
volume level. Utilizing these controls in this manner assures
the user of maximum signal to noise ratio with no distortion
caused by the preamp circuits clipping. Since the Gain control
is similar to a "pad," a small amount of signal will
get through with the Gain control rotated fully counter-clockwise.
AURAL
ENHANCER
The Aural Enhancer was developed to bring
out the fundamental low notes of the bass guitar, reduce certain
frequencies that help "mask" the fundamentals and
enhance the high-end transients. This effect becomes more pronounced
as the control is turned to maximum. the result is a more transparent
sound and is especially noticeable with a slap style technique
of playing.
EQ
DEFEAT
By pulling out on the Aural Enhancer knob
until you hear a click, you can defeat the tone control section
(return to a flat response). This feature can be very useful
in studio situations ("let's hear your eq, now let's hear
it without it.") or in simply analyzing how you have set
your tone controls with respect to a flat response.
TONE CONTROL SECTION
The
tone control section is a semi-parametric type with both level
(cut and boost) controls and frequency controls. The INSIDE
knob is the LEVEL control and the OUTSIDE knob is the center
FREQUENCY control. The level control boosts or cuts (raises
or lowers) the tone set by the frequency control. If the level
control is in the flat (center click) position, the frequency
control will have no affect to the sound.
To
assure the user of the flat (out) position of any one tone control,
a center click position has been provided. A twenty four stepped
frequency control has been provided for the user so that they
may always re-find a desired tone. As you find different settings
that are desirable, you may want to make a note of them.
The
easiest way to get acquainted with the semi parametric is to
raise the level control close to +15, then rotate the frequency
control from one end to the other noting the change in sound.
Do this with each section (bass, midrange and treble) one at
a time. Chances are that with each section you will find a couple
of positions that are especially pleasing or unpleasing to your
ear. As these are found, adjust the LEVEL control to the desired
amount of cut or boost that is desired. After finding a position
on each control, activate the EQ DEFEAT switch to compare. The
more you do this, the more you will relate frequency "numbers"
to their respective sounds. The goal that can be reached is
to be able to easily find adjustments with the tone section
that are needed. For example:
Not
enough solid low end...................boost the 40-60Hz range
Midrange is honky or hollow sounding......cut the 600-1000Hz
range
Treble is harsh and hurts the ear.....cut the 1.5K to 2.5KHz
range
Having trouble cutting through the band.........boost around
200Hz
Not enough presence, lackluster..........boost from 5KHz to
7.5KHz
Too much pick or finger noise.........cut the 5KHz to 7.5KHz
range
Need a more dynamic, "piano" sound......cut 800Hz,
boost 40 & 6KHz
Want to sound like Marcus Miller....................practice
a lot
We
suggest you try all of the above examples. Then try doing just
the opposite to realize both ends of the spectrum. Keep in mind
that the amount of cut or boost is something only you can decide.
EFFECTS
BLEND
The Effects Blend control "blends"
the signal coming from your instrument with the sound coming
from your effect. With the Blend control full counter- clockwise,
no signal from your effect will be heard. As you turn this control
clockwise, more of the effect can be heard in the overall sound.
When the Blend control is full clockwise, no true or unaffected
signal is heard other than what your effects unit provides.
This
type of control and arrangement is very effective in reducing
noise caused by effects units and in maintaining a more natural
sound. Please read the "Effects Loop" section for
more information.
EFFECTS
BYPASS SWITCH
Pulling out the Effects Blend control
will bypass the signal coming from the effects unit and will
return you to the sound of your instrument only. This feature
will function regardless of the position of the Effects Blend
control. Always check the position of this control if you are
having trouble with your effects unit.
MASTER
VOLUME
The Master Volume adjusts the signal level
going to the power amplifier and HEADPHONES when they are used.
It DOES NOT control the output of the effects send jack, line
out jack or line position of the XLR balanced output. If the
power amp clip LED lights more than occasionally, turn down
the Master Volume to correct this condition.
POWER
AMP CLIP LED
The Power Amp Clip LED will light when
the internal power amp reaches clipping (runs out of headroom).
Although no harm will come to the electronics due to the power
amp clipping, continual clipping of the power amp will shorten
the life of the internal (or any) speakers and could cause them
to fail. SPEAKERS THAT HAVE FAILED DUE
TO CONTINUOUS CLIPPING OF THE POWER AMP WILL NOT BE COVERED
UNDER WARRANTY! Occasional clipping of the power amp
(no more than every fourth or fifth note) will not harm the
internal speakers. Turning down the Master Volume will correct
this situation.
POWER
SWITCH
Pressing the Power Switch to the ON position
activates the Baby Blue's electronics as indicated by the red
LED lighting.
BACK
PANEL FEATURES
BALANCED
XLR OUT
The Balanced XLR Out is a true balanced
output whose level is set by the XLR Pad directly to the left.
The signal appearing at the XLR jack is governed by the position
of the Line/Direct switch directly below the jack. In the LINE
position, all front panel controls are functional and the signal
is essentially the same that is being sent to the internal power
amplifier. If you are using an effect, this will also
appear mixed in the signal when you are in the LINE mode. In
the DIRECT position, the Balanced out becomes an active TUBE
direct box. No front panel controls are functional and once
again, the level is adjusted by the XLR Pad.
When
using the Balanced Out for recording, optimum results can be
achieved by DRIVING THE TAPE DECK DIRECT. Of course, if this
is not possible, the Baby Blue will work in any other situation.
Whenever possible, use the XLR Pad to adjust working levels.
The use of input pads on consoles can deteriorate sound quality.
A
ground lift is built into the XLR Pad control. To lift (remove)
the ground connection, pull the knob outward until it clicks.
If
a persistent hum exists after trying both positions of the ground
lift function, there is probably a problem with the AC wiring
or just a dirty AC line. If this is the case, we suggest using
an isolation transformer between the Baby Blue and the wall
socket.
Wiring
for the XLR connector is as follows: Pin 1 = ground, Pin 2 =
+, Pin 3 = - (American Standard)
XLR
PAD
The XLR Pad adjusts the level (volume)
appearing at the XLR connector. Volume increases as the control
is turned clockwise. The XLR Pad has a built in ground lift
for the balanced out. Pulling the knob outward disconnects the
ground (pin 1).
If
you are in the LINE position and change the Gain control on
the front panel, the level will also change at the balanced
output. You may readjust the record level if necessary with
the XLR Pad without affecting any other function.
NO
PHANTOM POWER (48V SUPPLY) SHOULD BE APPLIED TO THIS OUTPUT.
DOING SO MAY DAMAGE THE INTERNAL CIRCUITRY.
LINE/DIRECT
SWITCH
In the Line position, the signal going
to the power amp also appears at the Balanced out jack and all
front panel controls are functional. In the Direct position,
a direct signal from the input jacks appears at the XLR connector.
For further information, see "Balanced XLR Out" above.
When using this switch, make sure it is all the way to the left
or right and not in a "half way" position.
NOTE:
Turn off transients appear at the record outs when the amplifier
is turned off. It is recommended that equipment that is being
used in conjunction with the record outs be turned down, off,
or disconnected BEFORE the Baby Blue is turned off.
LINE
OUT
The Line Out jack is located POST EQ and
PRE Master Volume in the block diagram. This function will allow
you to drive an additional (slave) power amplifier or can be
used as an unbalanced record out. Any effects used in the effects
loop will appear at the Line Out jack as well. The overall level
is set by the GAIN control on the front panel.
TO
TUNER INPUT
The Tuner Input jack allows the user to
plug their instrument tuner into this jack and "tune up"
without having to unplug and go back and forth from amp to tuner.
This feature is totally isolated from the rest of the preamp
and will function regardless of the settings of the controls
on the front panel. Being on a side chain (isolated) also avoids
loading down of the instrument causing a loss in the dynamic
range
of your instrument.
To
use this feature, plug in a shielded patch cord from the Tuner
Input to the INPUT on your tuner. Turn the amplifier on and
you're ready to go. If you do not wish to monitor your sound
while tuning, you may turn the Master Volume down. If you are
in the studio and sending a feed to the "house," you
may want to turn down the XLR Pad so you won't disturb the drummer
who has been trying to get his sound for the last 6 hours!
EFFECTS
LOOP
The Effects Loop is located POST EQ and
PRE Master Volume in the block diagram. The signal level appearing
at the Send jack is controlled by the Gain control on the front
panel. If you are getting too hot a signal to the input of your
effect, reduce the level of the gain control and raise the level
of your Master Volume to retain similar overall volume levels.
By using the Gain, Master Volume and Effects Blend control in
conjunction with each other, optimum results should be obtainable
with any effects unit.
The
Effects Loop is designed as a "side chain" (parallel)
function similar to those found on studio consoles. Use of the
effects loop should greatly reduce the noise generated by effects
devices (as compared to in-line effects loops). Additional features
of this type of loop can be found below under the Receive jack
section.
SEND
JACK
Run a shielded patch cord from the Send
jack to the INPUT of your effects unit. This jack may be used
as an additional line level output.
RECEIVE
JACK
Run a shielded patch cord from the RECEIVE
jack to the OUTPUT of your effects unit.
One
unique feature of the receive jack is the ability to practice
along with pre-recorded music. Insert a tape recorder or other
sound source into the Receive jack (make sure it is a mono source).
Using the Blend control, adjust the level of recorded music
from the Receive jack to the "live" sound of your
instrument. The mixed sound will be heard through the internal
speakers and/or your headphones. This feature appears on our
Redhead and musicians receiving audition tapes, or practice
tapes from bands they are soon to join have found this to be
invaluable.
Bass
players generally complain that they are not loud enough in
the studio mix. To solve this problem, run a feed from the headphone
mix or console mix to the Receive jack. Using the headphone
jack on the Baby Blue, adjust the Blend control to the desired
level you want to be in the mix! This can only be done if the
Line/Direct switch is in the DIRECT position and your speakers
are not being miked. If you are in this position, you can also
make your own private tape of the session by inserting a cassette
deck in the
Line out jack.
NOTE:
Inserting a plug into the Receive jack activates the Effects
Blend control. The Effects Blend control "receives"
this command through the ground created by insertion of the
plug in the jack. Therefore, best results can only be obtained
by using a mono phone plug. If you have a stereo plug only,
tie the ring and the ground together.
If
you are not getting any "effect" through your speakers,
etc., check the position of the Blend control and the Effects
Bypass switch located on the front panel.
HEADPHONE
JACK
The headphone feature allows the user
to monitor their sound via the use of stereo headphones. "Silent"
practicing can be achieved by removing the speaker cable from
the back of the Baby Blue electronics. Do not remove the cable
from the cabinet jack only as there is a chance the cable could
hit a "ground" and momentarily short out the power
amp. NO HARM will be done to your amplifier by not having any
speakers plugged in.
WARNING:
Stereo headphones must be used in this jack as mono headphones
will short out one side.
Since
the headphone "amp" is actually a reduced signal from
the power amp, the Headphone volume is controlled by the Master
Volume.
SPEAKER
JACK
The Speaker jack should be used to connect
the amplifier to a set of speakers. Make sure that the impedance
of the cabinet that you are plugging in is NOT LESS THAN FOUR
(4) OHMS. Use a good quality speaker cable that is at least
18 gauge or heavier (the lower the gauge, the heavier the wire).
DO NOT USE INSTRUMENT CABLE FOR HOOKING
UP SPEAKERS!!
EXTENSION
SPEAKER JACK
The Extension Speaker jack can be used
to plug in a second set of speakers. If you use this feature,
make sure that the impedance of the cabinet that you are plugging
in is NOT LESS THAN FOUR (4) OHMS. Use a good quality speaker
cable that is at least 18 gauge or heavier (the lower the gauge,
the heavier the wire). DO NOT USE INSTRUMENT
CABLE FOR HOOKING UP SPEAKERS!!
SPEAKER
FUSE
This feature is provided to protect your
speakers in the unlikely event of a power amp failure or your
power amp from bad speakers or their respective cables. This
fuse can open (blow) if your amp is on and you are playing while
plugging in the internal speakers or an extension speaker cabinet.
This is because the power amp is momentarily shorted out to
ground. Always check this fuse first if no sound is coming from
your cabinet(s). Correct size and rating of the speaker fuse
is: 3AG, 6 amp, fast blow.
A/C
LINE FUSE
The line fuse can open (blow) due to power
surges or high powerline transients. This fuse will also open
in the event of an electronics failure inside your amplifier.
Correct
size and rating of the Line (Mains) fuse is 3AG, 3 amp slo blo
for 120V operation and 1 1/2 amp slo blo for 240V operation.
DO
NOT DEFEAT THE PURPOSE OF THIS FEATURE BY USING A FUSE WITH
A HIGHER RATING. IT CAN FURTHER DAMAGE YOUR AMP AND VOID YOUR
WARRANTY.
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