Tecamp Puma 300, Manual, Page: 10 / 14

>> Front Panel
1 INPUT
Plug in your shielded instrument cable into this jack. We
advise you to always turn down the volume control on
your instrument before plugging it into this jack.
2 CLIP
The red CLIP LED helps you adjust the input sensitivity
of the PUMA preamp so that the signal from your ins-
trument best matches the preamp’s internal operating
level. Turn up the “GAIN” control (#3) while you hit the
strings of your bass hard until the CLIP LED starts flas-
hing. Now back up the “GAIN” control a bit until the LED
goes off. The flashing CLIP LED tells you that the input
stage of the preamp is clipping somewhere and that you
should either turn down the GAIN control (#3). Keep in
mind that excessive use of the LO control (#5) will raise
the internal level and thus make the CLIP LED come on
much earlier.
3 GAIN
This control adjusts the basic signal level in the preamp
and thus determines it’s sensitivity and overall dynamic
characteristics. In order to best adjust your instrument’s
signal level to the internal operating level of PUMA
watch the “CLIP LED” (#2). Set the GAIN such that the
CLIP LED just doesn’t come up.
Do not leave the volume control on your instrument
set too low, otherwise noise picked up along the
cable will become more prominent and thus lower
the signal-to noise ratio of the amp.
4 TASTE
This unique feature adds to the superiority of the PUMA’s
tonal qualities. Leave the control in the centre position
if you seek a more “natural” sound. When turned to the
right (clockwise) towards “RICH” the sound gets incre-
asingly fatter with lots of low-end punch, ending in a
warm, vintage-like tone. When turned to the left (coun-
ter clockwise) towards “DRY” this control adds urgent
attack and midrange growl.
The “TASTE” control allows you to quickly and
effectively soften those instruments which sound
a little harsh and scathing. At the same time bass
guitars with a muddy, booming neck pickup gain
definition by turning the “TASTE” control towards
the “DRY” position.
5 LO
This is the primary low frequency control. It allows for
cutting or boosting the frequency range around 30 Hz
by 15 dB each. This frequency range represents the bot-
tom end and massive yet distinguished punch in a bass
guitar. Start from the 12 o’clock position and dial in the
sound you like.
6 LO MID
The “LoMID” control is centred at 250 Hz and offers a cut
or boost of 12 dB. The slope of this control is not as steep
as the one of the “LO” control (#5). This frequency range,
when turned up, determines the body of the bass guitar
signal and lets the bass kick out in a mix. Turn it counter
clockwise to reduce unwanted room resonance.
7 HI MID
The “HiMID” control is centred at 800 Hz and offers a
cut or boost of 12 dB, again with a more gentle slope
just like the “LO MID” control (#6). Due to the broader
ranges which are covered by these controls the sound
never gets booming or honky when you turn them all
the way up. Turning up the “HI MID” control gives you
a great fretless sound. On the other hand, when you cut
the HI MID range you end up with a funky slap sound of
extremely high quality.
5 4
Gain Taste Lo LoMid HiMid Hi Master
10
0
10
0
Rich
Dry
10
0
10
0
10
0
10
0
DI
300
Input
Clip
Mute Post
On
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