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Thunderfunk Bass Amp Owner’s Manual
April 2007 - revision 8
Thunderfunk Bass Amp Owner’s Manual
(Chart complements of Leonard Audio)
Open Strings (about): “B”
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31 Hz, “E”
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41 Hz, “A”
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55 Hz, “D”
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73 Hz, “G”
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98 Hz, “C”
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132 Hz.
Frequency Controls
– These four controls are provided for selection of the low, low-middle, upper-
middle, and high frequencies you may wish to boost or cut.
Boost/Cut Controls
– Located beneath each Frequency Control, these controls will boost or cut the
selected frequency by +/-15 dB. They are flat at their 12 o‘clock position, and the control is detented so it
is easy and fast to set the individual EQ controls to flat.
A simple turn from one dot to the next creates a difference. Remember that a little can go a long way.
The first knob is often associated with “Solid”, especially in the 50Hz area. At lower volumes, you may
wish an increase to fill out the bottom end – similar to the “loudness” control on your stereo –while at
louder settings, consider a cut here. This is also a good knob to help out less than full range cabinet
designs, adding back the “-3 dB” often seen in specifications. Since “-3 dB” is halve the power of “0
dB”, a cabinet designed for the full range of the instrument will always sound better.
The second knob has been found to be useful for filling in the dead spot so common on many necks
–the one about ½ way up on the “G” string. The top three bands control frequencies where your
sound starts to get defined as human hearing starts to sharpen. The right amount of midrange gives
you clarity and punch, but be careful: too much can sound harsh.
Finger noise may be found between 500 and 1000 Hz, and the third knob can be used to subtract
unwanted noise and optimize the finger effect. Those using a slap or pop style will find this useful to
eliminating harshness by adjusting upper midrange frequencies. This is also a useful range to adjust
the “honk” prevalent in some speaker cabinets.
The fourth knob can help add a top end “snap” that dull-sounding speaker systems or pickups lack, as
well as compensate for an old set of strings.
To learn how the parametric controls work, try this:
Boost the level control in one section, so you will
more easily hear the frequency you are adjusting. Then rotate the frequency control directly above it. After
you identify what frequency you’re adjusting, return to the level control to adjust it to the desired amount of
boost or cut. Contour the sound to your liking. When you become experienced with parametric
adjustment, you can of course skip most of the above, but parametric EQ is a very powerful tool that is
easy to overuse. When it doubt, use less.
