2
5. Volume
Set the Volume control for the level of sound desired. If unwanted distortion occurs, reduce
the Volume setting and/or the tone control settings (especially Bass).
6. Tone Controls
Each tone control permits a wide range of adjustment. The four overlapping controls cover
the entire audio spectrum. The Bass adjusts the level of the low frequency range, Low
Mid the next range up, Hi Mid covers higher notes and middle harmonics and the Treble
control regulates the upper harmonic range. The center setting on these tone con-trols is
approximately neutral.
User Tip: When starting out, it’s a good idea to center all tone controls. Then, while you play,
adjust them for the desired sound.
7. Scoop
The Scoop control emphasizes lows and highs and reduces midrange to provide a flexible
tone alternative. A setting of 0 provides no Scoop and a setting of 10 provides the maximum
effect.
User Tip: You may find that for best results using the Scoop at higher settings, the tone
controls should be set close to the center/neutral positions.
8. XLR Line Out
This is your conduit to the P.A. or recording console. Using an XLR mic cable or a shielded
patch cord with a female XLR connector on one end (balanced or unbalanced, e.g. a high
or low-impedance mic cable), connect the Line Out to the input of the mixer. Electronic
balancing circuitry minimizes the possibility of hum or noise when the Line Out is connected
to a mixer (even when the mixer does not have balanced inputs). Also, this output can be
made Pre-EQ or Post-EQ according to the selector button which is described below.
Pre-EQ / Post-EQ Selector Switch
The Pre-EQ / Post-EQ selector switch enables you to configure the behavior of the Line
Out XLR jack.
• In the Pre-EQ setting, the Line Out signal comes directly from the input section
bypassing the Volume control, tone controls and EFX Send/Return circuitry. Use the
Pre-EQ setting in a recording or P.A. situation where the mixing engineer requires a
completely dry signal, as if it were a D.I. box (Direct from the Instrument).
• In the Post-EQ setting, the Line Out signal comes from the final preamp stage. The
Volume control, tone controls and any connected effects all affect the signal directly.
Use the Post-EQ setting when connecting the Line Out to the input of another amp
(perhaps for added stage coverage) or to a recording or P.A. mixer where a dry signal
is not required.
User Tip: For most club PA situations or for home recording, you would probably prefer
the Post-EQ setting.
9. EFX Send / EFX Return Jacks
The line-level signal at the EFX Send jack is post-fader and post-EQ (it is affected by the
Volume and all tone con-trols). The EFX Send would normally be connected to the input
of the effects processor with a shielded patch cord. When a phone plug is inserted into
the EFX Return jack, the signal goes directly to the 200’s internal power amp. Technically,
by inserting a ¼-inch phone plug into the EFX Return, you are disconnecting the internal
preamp signal going to the power amplifier stage. As a result, the power amp can only
receive signals routed through here (i.e. it isolates the power amp). Only use shielded patch
cords for all interconnections.
User Tip: You can “slave” your DynaBass 200 to another amp. As an example, if you wanted
to run two bass amps for a large gig, you can simply run a shielded patch cable from the line
output of the other amp (possibly another 200) to the EFX Return of your DynaBass 200.
