SWR Mini-Mo Mini-Mo' Preamp With Mo' Control 2 Master Footswitch Controller, Руководство пользователя, Страница: 15 / 52

BASSYNTH FILTER CONTROL
This control allows the user to take away certain overtones that are present in the raw waveform
(otherwise known as "Subtractive Synthesis"). In simple terms, it acts like an equalizer for the waveform
––taking away treble but not adding bass. When set counter-clockwise to the minimum position ('0'), the
filter is "fully closed" and will subtract as many overtones as possible.
When set clockwise to the maximum ('10'), the filter is "wide open" and subtracts nothing. In addition to
the control knob, input gain and how you attack your strings are just two of the many things that can
affect when the filter opens and closes. Please refer to the "Using The Bassynth" section for more
details.
BASSYNTH RESONANCE CONTROL
This function allows a narrow band of frequencies (the resonant peak) on the filter to become relatively
more prominent. Filter resonance is also known as "emphasis" and "Q". It is also referred to in some
older instruments as regeneration or feedback, because feedback was used in the circuit to produce a
resonant peak. It produces a very distinctive sound in the analog filter process, and is an important part
of the overall sound produced by the Bassynth. When set clockwise to the minimum position ('0'), there
is no resonant peak present and the frequencies are sent evenly across the spectrum through the filter.
As you increase the knob, the prominent band of frequencies sent through the filter will narrow and the
effect will become more dramatic. Please refer to the "Using The Bassynth" section for more details.
BASSYNTH ENVELOPE CONTROL
The Envelope control is a signal-processing device in the Bassynth that controls amplitude over a certain
time frame. In not-so-technical terms, it gives the sound its shape. The Envelope control tells when the
Bassynth should go up and down in volume, and the time it should take to go up and down. In addition
to the control you have on the knob itself, these parameters are also in the hands of the player as they
can be controlled by the dynamic articulation of the musician through string attack. This control creates
the "wah" type effect.
When set clockwise to the minimum position ('0'), the Envelope will affect the signal as quickly as
possible, so quick that it will have practically no affect at all. As you increase the knob, the Envelope
effect will slow down, allowing you to hear the shift in amplitude. Please refer to the "Using The
Bassynth" section for more details.
BASSYNTH LEVEL CONTROL
The Bassynth Level control is a very important factor in terms of using the effect in live applications
when switching back and forth between unaffected signal and Bassynth signal. You'll notice that, with
high settings on the Bassynth Resonance control, the perceived volume changes greatly in comparison
with the unaffected bass signal––it is reduced. That's because when you set the resonance high, the "Q"
is more drastic, which basically sucks out a wide group of midrange frequencies and brings them back
over time (the time setting is determine by the envelope control). That sounds great––it provides the
spank everyone likes from a synth––but those missing frequencies at the point of string attack negative-
ly affects bassists insofar as that, seemingly, the fundamental note is gone when you hit the string. So
in a band setting, it could sound like your level has gone down. But with the Bassynth Level control,
level losses caused by high resonance settings can now be accounted for by setting the Level control
higher. It allows for unity gain at the most extreme resonance settings, and even a gain boost if desired.
You'll also notice that, when the resonance is set lower for more of a "Gap Band" flat synth sound, the
level increases greatly. The Bassynth Level control can be adjusted down to make sure there's no
massive level disparity in this instance as well. Try different settings on both the Bassynth Resonance
and the Bassynth Level controls, and switch the effect on and off (using the Bypass switch), and it
should become evident fairly quickly.
MINI-MO’ OWNER’S MANUAL •12