SWR Mo' Bass, Руководство пользователя

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Using The Bassynth (continued)
Now bring the Filter Control up to '3' on the dial, and play again. You should now start to hear some sound. Turn the Filter
control further up to '7', and a very obvious "synth" sound should be present. Try attacking the strings both harder and
softer. When you play harder, more high frequency should be present. A softer attack will result in a "darker" sound. This
is what we mean when we say that the Bassynth is a highly dynamic effect.
Now let's try the resonance control by setting it to '6' on the dial. When you increase the resonance, the signal will decrease
slightly in overall level because you are taking away certain frequencies upon the initial attack. This is normal. The sound
should now resemble that of a classic synth even more. Try experimenting with your string attack again - things about the tone
will change. Try both the Filter and the Resonance controls in various positions...and try not to let time get away from you!
Let's move on to the Envelope Control. First set the Filter control at '2' and the Resonance control at '7'. Now strike an open
note and slowly turn the Envelope Control until you hear a "wah" sound. The harder you play, the more present the "wah"
will become (think "Chameleon" by Herbie Hancock). At this point, all three Bassynth controls are working in harmony and all
will affect each other. For instance, if you open up the Filter too much, the "wah" from the Envelope may go away. If you
close the Filter too much, the Envelope won't have a chance to "wah" anything. How you attack the strings can make all the
difference in the world.
With an active bass, the overall gain structure will be slightly different. You may find you want to back off on the Pre-Amp
Volume of the Mo' Bass preamp to keep the Bassynth from seeing too hot a signal. Also, the tone controls on your active
bass will greatly affect the Bassynth. One particular example: your midrange control may directly affect the sensitivity of the
Envelope control.
You've now got three onboard controls, your bass and your fingers to find new sounds within the Bassynth. Mix and match
at will!
Once you've fully explored the possibilities, try adding the Subwave to the Basssynth. Now both the Subwave and the
Bassynth signals will be affected by the Filter, Resonance and Envelope controls. (It should be noted that when the
SubWave effect is activated, the raw sub waveform is routed to the Bassynth, regardless of where the SubWave Mix and
SubWave Tone Controls are set.)
Want more? Add in the Mo' EQ. Try experimenting with each of the tone controls individually - they'll all do something
unique to the sound of the Bassynth.
Not satisfied yet? Throw the Chorus into the mix. Now try some experimenting.
Once you're feeling comfortable with the Bassynth itself, try blending in the "clean" signal by bringing the Bassynth Mix knob
slowly back towards mid-position. At exactly '3' on the "Synth" side (3:00 PM), the effect will be completely out of phase with
the input and the level will drop dramatically. This is normal and can be used for some really strange sounds. As you move
past the '3' point, level will return to normal and the phasing will stop.
Also try using the Dual Mode function. You may find that you want the Mix control completely on "Synth" and run the unit in
Dual Mode to blend the original signal back in with your stereo Master Volume controls. (Please refer to the "Dual Mode"
section for more details.) There are plenty of creative choices to make, and we encourage you to make them.
Hidden Feature 1: Envelope Follower
For those who want to use the Bassynth as more of a traditional envelope follower - or put more plainly, if you want to slap
and pop through the Bassynth Filter - we've designed a "hidden feature." If you engage the Overdrive while the Bassynth is
on, the filter will see the original bass signal as opposed to the sawtooth wave. Confused? Try this - set the Overdrive
"Drive" Control at minimum and the Overdrive Level Control at around '2'. Then engage the Overdrive and the Bassynth
simultaneously. You should now hear the clean bass signal going through the filter. You may need to readjust your Filter,
Resonance and Envelope levels to achieve maximum effect. Again, how hard you play will have a major affect on the
sound itself.
Hidden Feature 2: Phase-O-Matic
Also, there's no law that says you have to keep the Overdrive "Drive" Control at minimum. Try slowly turning the Drive
Control up while the Basssynth is engaged. It should start sounding pretty nasty! If you set the Bassynth Mix Control at '3'
on the "synth" side of the control while the Overdrive is engaged and roaring, the 180-degree phasing will occur
in ways you never thought possible.
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