SWR Strawberry Blonde Bedienungsanleitung Seite 7

2. Starting from "MIN, " raise the Gain control while striking your loudest chord or note. If you begin to hear distortion, back off the
Gain control until the distortion is no longer present.
3. Use the Master Volume to set the overall desired loudness.
The Aural Enhancer and tone controls can have an affect on the optimal setting of the Gain control. After you have set these to your
liking, repeat steps 1 through 3.
To accommodate a wide range and variety of instruments and mics, the Gain control's taper or action was designed to start slowly.
This allows a better finite position to achieve the proper Gain setting for your instrument. In other words, you may notice that the
volume changes more rapidly after the Gain Control reaches about the 11 o'clock position. This is normal and was done for the
reason stated above.
The Gain control also "drives" the effects send signal and internal reverb circuitry. Effects units used in the effects loops should be
able to accept line level signals. If your effect is being overdriven at the input, you can turn down the Gain to alleviate this condition.
Reset your Master Volume for desired overall volume.
AURAL ENHANCER
SWR's Aural Enhancer Control was developed to bring out the fundamental low notes of all instruments, reduce certain frequencies
that help mask the fundamentals, and enhance the high end transients. Basically a tone shaping control, the Aural Enhancer is a
passive R/C network that alters the frequency response throughout the frequency spectrum. This pre-shaping is "blended" into the
original signal via the Aural Enhancer Control. Exact frequencies affected are dependent on the characteristics of the instrument
used.
TONE CONTROL SECTION
The Strawberry Blonde's Tone Control section is a three-band set of level controls centered around the frequencies 80 Hz (Bass),
800 Hz (Mid Range) and 5kHz (Treble). Each control can cut or boost its band a maximum of 15dB. Each control has a flat (center
click) position that defeats its function. In this position, the tone controls are inactive. For each tone control, rotating the knob
counter-clockwise from the center click position will reduce or cut its designated frequency. Rotating the knob clockwise will boost
its designated band or frequency.
USING THE TONE CONTROLS
To get the most out of the Tone Controls of your Strawberry Blonde, it would be best to first understand how the Aural Enhancer
works, and how it interacts with the Bass, Mid Range and Treble controls. Think of it as a variable tone curve, changing with its
position. As you raise the control from its "0, " or fully counterclockwise position, you are elevating the whole range of sound (lows,
mids, and highs) at frequency points different than those selected for the individual Tone Controls.
This remains true up to about the "2 o'clock" position, at which point selected mids start to drop off. The curves involved here are
gentle, as opposed to the very extreme curves you can create with the Tone Controls. Most significantly for basses, the Enhancer will
help bring out the fundamentals of your lower registers without masking them with overtones, such as the Bass control. At the same
time, it opens up the sibilance characteristics of all instruments without being harsh.
Most players prefer setting the Aural Enhancer between 10 and 2 o'clock. Try playing a chord and move the Aural Enhancer from one
extreme to the other. You should find a setting that is pleasing to your ear.
The Bass control works in a range that will be useful under most "normal" conditions. Its musical use might be thought of as a
"fatness" control. The overall "punch" of your instrument will be determined with this control. With passive instruments, this will be
straightforward. With active instruments having bass-boost/cut functions, more exploration will be worthwhile.
The Mid Range control operates in a crucial area for most instruments. Many basses, particularly those strung with roundwound
strings, and some pickups for acoustic instruments, can have a very "honky" or nasal sound. Dropping the Mid Range control can go
a long way toward smoothing out your tone. We suggest, though, that what sounds best when your listening to your tone by yourself
may not be what works best in a band or recording. Sometimes that objectionable quality may be just the right "hair" on your note to
still have an audible presence in the track or on stage.
STRAWBERRY BLONDE • 7