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Please note:
The efficiency of the tone-controls strongly depends on the
microphone’s frequency response: if a microphone does not record much bass
and treble frequencies the tone control of the amp cannot add more of it. Please
use e.g. a singing microphone with a good linear frequency response in order to
get the best results using the tone control of the amp. Additionally the amp can
be placed at ear level which helps a lot to play with less volume (and feedback).
The middle-control is suited to damp or remove feedback at high volumes.
Feedback might occur with all microphone-amplifier-speaker combinations. The
amplified sound is recorded by the microphone and re-amplified – the sound is
“looped” and as a result of this a nasty squealing sound is produced. Feedback
often can be prevented by lowering the volume or by adding fewer effects. Many
microphones have a volume control, or on/off switch. It is good for the musician
not to stay right in front of the speaker’s sound cone. If required you can also
turn the amp out of your direction a little bit. You might also angle up the amp
with the built-in pedestal in order to improve the sound projection of the
speaker. Then the volume can be reduced as well which helps a lot to prevent
feedback.
To apply low impedance microphones (e.g. standard dynamic microphones for
singing) the Hyperamp features a second input option (XLR-jack (1)).
Microphones are available for many purposes – often a harmonica player selects
a model which is suited in design and sound from his personal point of view.
By the use of an additional speaker, volume and sonority of the amp can be
enhanced (see “Control elements on the backside”, point 6). Through the line-out
socket (direct injection) on the rear panel the signal can be directed to the DI-
box or a mixer without changing the sound of the amp on stage.
