>> Front Panel
1 INPUT
Plug in your shielded instrument cable into this jack. We
advise you to always turn down the volume control on
your instrument before plugging it into this jack.
2 -10
When using a bass guitar with active pickups or basically
delivering relatively high output levels we advise you to
use this function. When this switch is engaged the signal
will be attenuated by 10 dB before it reaches the GAIN
and TONE controls. This mode is accompanied by an illu-
minated blue LED above the switch. Attenuation allows
the “GAIN” control (#4) to be used in a more subtle way
by somehow altering the taper of the pot – the “GAIN”
control can be brought up to a higher position now.
If, on the other hand, the GAIN control must be turned all
the way up without reaching a satisfying gain range, you
better deactivate the “-10 dB” switch.
3 CLIP
The red CLIP LED helps you adjust the input sensitivity of
the PUMA 1000 preamp so that the signal from your
instrument best matches the preamp’s internal operating
level. Turn up the GAIN control (#4) while you hit the
strings of your bass hard until the CLIP LED starts flas-
hing. Now back up the GAIN control a bit until the LED
goes off. The flashing CLIP LED tells you that the input
stage of the preamp is clipping somewhere and that you
should either turn down the GAIN control (#4) or engage
the –10 dB function (#2). Keep in mind that excessive
use of the LO control (#9) and BASS BOOST (#8) will
raise the internal level and thus make the CLIP LED come
on much earlier.
4 GAIN
This control adjusts the basic signal level in the preamp
and thus determines it’s sensitivity and overall dynamic
characteristics. In order to best adjust your instrument’s
signal level to the internal operating level of PUMA 1000
watch the CLIP LED (#3). Set the GAIN and/or the –10 dB
function (#2) such that the CLIP LED just doesn’t come up.
Do not leave the volume control on your instru-
4
ment set too low, otherwise noise picked up along the
cable will become more prominent and thus lower the
signal-to noise ratio of the amp.
5 TASTE
This unique feature adds to the superiority of the PUMA
1000’s tonal qualities. Leave the control in the centre
position if you seek a more “natural” sound. When tur-
ned to the right (clockwise) towards “RICH” the sound
gets increasingly fatter with lots of low-end punch,
ending in a warm, vintage-like tone. When turned to the
left (counter clockwise) towards “DRY” this control adds
urgent attack and midrange growl.
The “TASTE” control allows you to quickly and
effectively soften those instruments which sound a litt-
le harsh and scathing. At the same time bass guitars
with a muddy, booming neck pickup gain definition by
turning the “TASTE” control towards the “DRY” position.
6 ATTACK TIME
This switch allows you to alter the attack time of the
included high-end “COMPRESSOR” (#7). When the
switch is not engaged the attack time is short which
means that the signal is compressed immediately –
great for fretless sounds. When you depress the switch,
which is accompanied by an illuminated LED above it,
the attack time is longer. Now the transients of the
signal (the very first moments of a note) pass the circuit
unprocessed resulting in a hot, lively bass sound – great
for rock and funk sounds.
7 COMPRESSOR
The “COMPRESSOR” of the PUMA 1000 gently pulls up
low notes, thus providing a great, even sustain. The
more you turn up the “COMPRESSOR” (to the right, i.e.
clockwise), the more audible is the compression effect.
The level reduction usually associated with compression
is made up by an internal automatic gain control. No
matter how much compression you apply the signal level
will always stay the same. In order to use the compres-
sor conveniently and effectively adjusting the input sen-
sitivity (refer to #1 through #4)is of crucial importance.
8 BASS BOOST
This switch, when engaged (the associated LED above
illuminates), boosts the very low frequencies around 30 Hz
by 12 dB. This adds a solid ground to the sound similar to
a valve amp.
9 LO
This is the primary low frequency control. It allows for cut-
ting or boosting the frequency range around 70 Hz by 15 dB
each. This frequency range represents the bottom end and
massive yet distinguished punch in a bass guitar. Start
from the 12 o’clock position and dial in the sound you like.
10 LO MID
The “LoMID” control is centred at 250 Hz and offers a cut
or boost of 12 dB. The slope of this control is not as
steep as the one of the “LO” control (#9). This frequency
range, when turned up, determines the body of the bass
guitar signal and lets the bass be heard in a mix. Turn it
counter clockwise to reduce unwanted room resonance.
11 HI MID
The “HiMID” control is centred at 800 Hz and offers a cut
or boost of 12 dB, again with a more gentle slope just
like the “LoMID” control (#10). Due to the broader ran-
ges which are covered by these controls the sound never
gets booming or honky when you turn them all the way
up. Turning up the “HiMID” control gives you a great fret-
less sound. On the other hand, when you cut the HiMID
range you end up with a funky slap sound of extremely
high quality.
5
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TIPS & TRICKS FROM DR. BASS
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TIPS & TRICKS FROM DR. BASS
Input
Gain
Taste
Lo
Lo Mid
Hi Mid
Hi
Master
Line/EffectMix
Mute
Clip
Power
Post
-10
10
0
10
0
10
0
10
0
Rich
Dry
10
0
10
0
10
0
10
0
Compressor
Bass
Boost
Hi
Boost
Attack
Time
DI
FS/Mute
1000
1
3
4
5
9
10
11
12
15
16 17
18
2
6
7
8
13
21
14
20
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