Mesa Rosette 300 Two:Eight, Руководство пользователя, Страница: 17 / 30

FX BYPASS FOOTSWITCH
Effects, either internal or external (connected to the FX LOOP), may be bypassed remotely via
this jack by connecting a single standard latching-type Footswitch to this 1/4” (6.5mm) T.S. FX BYPASS FTSW jack. Shorting the tip
to the sleeve bypasses (mutes) the effects, including any external effects processors that may be inserted in the FX LOOP. The red
FX BYPASS LED on the front panel indicates the status of the effects and will illuminate red when they are bypassed/muted.
FX LOOP
The FX LOOP is fitted with a pair of 1/4” (6.5mm) T.S. jacks that together form the patch points for interfacing external
processors. Don’t be surprised if the Internal Effects sound better than many external devices, as the Rosette features top quality
DSP used in creating the internal Effects.
The FX SEND jack takes its signal from each channel’s FX SEND control and is the same signal (and signal level) that is sent to the
internal Effects processor. The FX RETURN jack inserts its signal in place of the internal effects processor’s output, with the RETURN
level (dry/wet mix ratio) being controlled by the front panel FX MASTER control. This is a parallel loop that allows the substitution of
an outboard effects processor in place of the internal processor. In other words, when cables are inserted to the FX LOOP jacks, the
internal processor is defeated.
While designed specifically for line level effects, there is adequate SEND signal range and make-up gain at the RETURN stage to
work with many instrument level processors and effects pedals as well.
NOTE: External processor’s output mix control(s) must be set to a 100% wet (effects only, no dry signal) setting, as the dry/ wet mix
function is handled internally in the amplifier by the FX SEND and FX MASTER controls on the front panel.
NOTE: Always use shielded cables of the best quality and shortest possible length when connecting external processors to the FX
LOOP. While the FX LOOP is buffered and therefore resistant to degradation caused by the capacitance seen in longer cable lengths,
it is still best to introduce the least possible cable capacitance in the FX LOOP to ensure the best performance and Tone.
AUX INPUT
The Rosette provides a 1/4” (6.5mm) T.R.S. AUX INPUT. This Tip/Ring/Sleeve stereo jack properly sums left and
right stereo channels from an MP3 player, i-device, or laptop, as many of these new devices do not contain adequate circuitry for
proper summing. The AUX signal injection (input) point is right before the MASTER VOLUME control, so the volume of the source
program material will also be adjusted, along with any instruments feeding the Channel’s Inputs. Use the source player’s volume
control to balance the level between your instrument and the playback device.
NOTE: For best performance, a 1/8” (3.5mm) T.R.S. to 1/4” (6.5mm) T.R.S. cable (also called a stereo cable) should be used when
connecting a player to the AUX INPUT. This will match best between the devices and allow the amplifier’s automatic summing circuitry
to work properly.
NOTE: The AUX INPUT will automatically adapt to a conventional mono input from devices such as drum machines. The only signal
that is NOT COMPATIBLE is a BALANCED MONO SIGNAL, because the summing circuitry will try to sum the inverting and non-
inverting components that a balanced signal presents on the tip and ring to zero, which will result in a very low (unusable) level
DIRECT (DI) OUTPUTS
A feature that sets the Rosette apart from the rest of the market is the inclusion of studio grade XLR
(male) Balanced Direct Outputs. There are separate outputs provided for each of the Channels individually and a summed POST
(with internal effects/FX LOOP) output for capturing the sound you have dialed up on the Channels as your stage monitor.
These high-quality, professional-grade outputs are capable of driving balanced analog lines as long as 500 feet, are fully phantom
power protected, are noise resistant and stability compensated for reliable, high quality signal transmission to either Stage Moni-
tor and/or Front Of House consoles. These outputs follow the Pro Audio standards of pin 2=non-inverting, pin 3=inverting and pin
1=ground. Every known console in the world follows this wiring standard, so interfacing will be consistent and reliable no matter where
you roam with your amplifier.
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