O P E R AT I N G
MANUAL
iAMP®500
LELAND SKLAR
and his
Euphonic Audio iAMP®800
“The more I play it,
the more I’m realizing
that my iAMP500 is
the best amp I've ever owned.”
– Robert Gingery
EUPHONIC AUDIO, INC.
TOLL-FREE (866) 878-0009
PO Box 10 • Toms River, NJ • 08754
Fax: (866) 878-1642 • Email: info@euphonicaudio.com
032304
euphonicaudio.com
A NOTE FROM
EUPHONIC AUDIO
Thank you for purchasing the EUPHONIC
AUDIO® iAMP®500 Integrated Bass Amplifier.
We’re extremely proud of our iAMP®500 and
pleased that you have chosen it.
You will receive many years of satisfaction from
your iAMP®500, which has been carefully
designed to create accurate and exceptional
bass sound.
Our confidence is the result of an extensive
research and development program, coupled
with our innovative design philosophy.
Displeased with so-called “state-of-the-art”
products available, we sought to create an
integrated bass amplification system
incorporating the input from the many
talented and respected musicians who use EA’s
other products, such as our critically acclaimed
speaker cabinets and our one-of-a-kind
RUMBLE SEAT™.
ACKNOWLEDGEMENTS
Euphonic Audio would like to thank
★
Richard Carpenter
Michael Dimin
Kevin Drexler
David Inamine
Lynn Keller
Michael Rhodes
Kasim Sulton
and
Leland Sklar
for their invaluable contributions
to the development of the iAMP®500
and this manual.
C o py r i g h t
© 20 0 4 E u p h o n i c A u d i o
NOTE: The diagonal direction of the sliding tone controls and the appearance
of the iAMP®500 are registered trademarks of Euphonic Audio, Inc., 2000.
All rights reserved.
WARRANTY REGISTRATION
MAIL-BACK FORM
Complete this form and photocopy it. Mail us a COPY of this form and a
COPY of your Bill of Sale to:
Euphonic Audio Warranty Department
11 Revere Court
Princeton Junction, NJ 08550
You must mail this within 14 days of purchase to ensure your warranty is valid!
Again, thank you for purchasing Euphonic Audio’s iAMP®500!
We appreciate your questions and comments.
NAME
ADDRESS
S TAT E
CITY
ZIP
TELEPHONE NUMBER(S)
EMAIL
MODEL
SERIAL NUMBER
P U RC H A S E D AT
DAT E O F P U RC H A S E
COMMENTS
A FEW WORDS FROM
LYNN KELLER
If you were anything like “Do you remember how you their VL110 cabinets and
was completely shocked
me you began
began your bass career?
to find cabinets that
experimenting with all
You bought your first bass were portable and
kinds of basses, amps,
sounded fat, punchy
strings, effects and
and began the quest
and had amazing range.
eventually, bigger car! As
for bass gear…
you improved and
Euphonic Audio has
looked for better
evolved into the creators of pure world-class
sounding gear you probably bought
bass sound. Euphonic Audio is known for
separate components. I remember the day I
natural sound, not adding any unwanted
bought my first power amp, pre-amp and
coloration. They and I believe that bass
my double 15"cabinet, which was
sound comes from your fingers first and
approximately 4-1/2 feet tall, fitted with
your bass second. Why color the very
casters on the bottom and
sound you chose when you
weighed a ton! Eventually,
bought your bass? Allow
4x10 cabinets became the
your bass to speak for
rage. I knew I wanted that
itself.
sound, but there was no
The Digital iAMP®500
point in owning a
combined with 2
piece of gear I couldn’t
Wizzy 112 speaker
lift in or out of my car.
cabinets is my rig of
Not to be discouraged,
choice for any stage,
I found a way to make
large or small. The
this work. Whenever I
iAMP®500 has
played a local gig where I
tremendous power and
wanted to stand out with a
headroom (350 watts@8 ohms,
great bass sound, I would drive
500 watts @4 or 2 ohms), in addition
to a well-known amp company that was
to an easily accessible and intuitive tone
working with me at the time. I would have
shaping circuit. You will get sweet warm
them place the 4x10 cabinet into the back
highs and fat, punchy lows that extend
of my car and proceed to the gig where I
would wait for a another band member to
cleanly to any 4, 5 or 6 string bass you play.
arrive so that they could help me get the
Euphonic Audio makes gear that will give
cabinet out of my car and onto the stage.
you exactly what you’ve been looking for
After the gig I’d continue to wait until
without compromising anything.
everyone else had packed up and loaded
Just think, you now own the best of the bass
out all their own gear and then I would
gear! Throw out your hand truck, sell that
gingerly ask one of them to help me lift the
SUV and carry this amp into the future.
4x10 back into the car. At the end of a long
night no one was thrilled by that request!
LYNN KELLER
BASSIST
1997 was a year of triumph for me. I
discovered Euphonic Audio. I began using
12
1
OUR HISTORY
E
UPHONIC AUDIO WAS FOUNDED IN 1981 BY JOHN DONG AND LARRY ULLMAN TO DESIGN
HOME SPEAKER SYSTEMS FOR AUDIOPHILES. Convinced that we could create a superior
product for the high-end audio market, we auditioned popular and highly praised
speakers to determine the inherent relationship between the design physics and the
sonic accuracy of the speaker systems. Data was compiled on hundreds of models. Every raw
driver we could obtain was evaluated and quantified. The history of speaker design was
extensively researched in the libraries of a major university. We determined the theories
advanced in the 1930–50s include the basis for impressive products if modern materials and
computerized instrumentation, design, manufacturing, and testing techniques are used.
Influenced in part by Larry’s
“other life” as a professional
THE EA TEAM…
bassist, in 1995 we turned our
entire focus toward the
science and art of reproducing
the
complex
timbres,
transient attacks and dynamic
range of bass instruments.
Larry’s
demanding
prerequisites for superior
timbre and portability,
coupled with John’s expertise
in drivers and cabinet
design/construction proved
Gary
Larry
John
invaluable. Significant sonic
and performance criteria were
achieved by our novel design approach. The result: Euphonic Audio’s highly portable, truly
innovative bass cabinets produce a remarkable bass sound unequaled in the music industry.
Three years later, we sought to create the most complementary integrated bass amplifier for
our speaker systems. Hence, the original iAMP was born. The culmination of the iAMP design
philosophy is the new iAMP® series of Class D, digital power amps, including the iAMP®200,
iAMP®800 and the iAMP®500. The *iAMP®500 puts out 500 watts into 4 ohms, 800 watts
peak and weighs only 13 lbs. This portable powerhouse includes: honest power rating
throughout the full bandwidth--meaning you’ll get true power throughout the entire audio
spectrum, from 20-20kHz; input level control; highly effective and intuitive tone shaping
controls; professional balanced outputs (with a Jensen transformer option for the DI Output
section); versatile series effects processing; rugged steel construction and more.
Gary Gibilisco joined Euphonic Audio in 2000, to oversee the design and manufacturing
of a complete line of electronics products. Gary brings significant audio electronics
manufacturing expertise to EA, along with many years of professional bass playing
experience. His primary responsibility is to ensure that every EA electronics product reflects
the absolute best that technology has to offer, while being manufactured to exacting
standards.
L I M I T E D WA R R A N T Y
The warranty period for the Euphonic Audio iAMP®500
is THREE YEARS from the date of purchase.
This covers defects in material and workmanship.
THE
WA R R A N T Y I S V O I D U N D E R T H E F O L L O W I N G C O N D I T I O N S :
■ If the unit has been damaged due to an accident, improper
handling, installation or operation;
■ If the unit has been damaged in shipping;
■ Abuse or misuse;
■ Unauthorized repair or attempted repair;
■ If the serial number has been defaced or removed.
Euphonic Audio, Inc. reserves the right to make such determination of the above on
the basis of factory inspection.
All liability for any incidental or consequential damages for breach or any expressed
or implied warranties is disclaimed and excluded here from.
Some states do not allow limitations on how long an implied warranty lasts, or the
exclusion or limitation of incidental or consequential damages, so that the above
limitation or exclusion may not apply to you. This warranty gives you specific legal
rights and you may also have other rights, which vary from state to state.
WARRANTY SERVICE INFORMATION
Please follow these steps if your Euphonic Audio iAMP®500 requires repair:
1. Locate your original Bill of Sale, which should include date and place of purchase.
2. Call, FAX, Email or write to Euphonic Audio describing the problem and for issue of a
Return Authorization Number (RA). You may reach us during normal business hours
(EST) at (866) 878-0009 (see back cover for our email, fax and address).
3. Once we have provided you with the RA number, pack the unit carefully—preferably in its
original shipping carton—and enclose a brief description of the problem. Include your
name, address, telephone number and Email, the units serial number and a COPY of the
Bill of Sale. Write the RA number on the carton and ship it PREPAID to the factory. Please
be certain to properly insure the unit for full retail price when shipping.
4. If it is determined that the unit is under warranty, we will repair the unit as deemed
appropriate (repair or replacement parts) free of charge and return the unit to you,
shipping prepaid.
5. If it is determined that the unit is not under warranty, we will return the repaired unit COD
for the cost of repair, shipping and insurance.
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11
IMPORTANT SAFETY PRECAUTIONS
WARNING - When electrical products are used, basic
precautions should be followed, including:
■ Read all instructions before using this product.
■ Do not use this product near water, for example near a bathtub, sink, in a wet basement,
near a swimming pool or the like. Prevent the unit from getting wet from rain, snow, etc.
WARNINGS USED ON THE EQUIPMENT
WARNING–ATTENTION THIS UNIT MUST BE CONNECTED TO A MAINS SOCKET
OUTLET WITH A PROTECTIVE EARTHING CONNECTION. REPLACE ONLY WITH SAME
TYPE AND RATING OF FUSES.
WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE
THIS APPARATUS TO RAIN OR MOISTURE.
■ This product should be located so that its position or location does not interfere with its
proper ventilation. It is important that the bottom of the unit is allowed “to breathe.”
The lightning flash symbol is intended to alert the user to the presence of
uninsulated “dangerous voltage” within this product’s enclosure that may be of
sufficient magnitude to constitute risk of electric shock. The unit contains no
user serviceable components, under no circumstances should the unit be turned on
or plugged in with the top cover removed.
■ The iAMP®500 should be located away from heat sources such as radiators, heat registers,
or other products that produce heat. Do not leave the unit in an extremely hot
environment (such as inside a car) for extended periods of time.
The exclamation point is intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the literature
accompanying this product.
■ Care should be taken so that objects do not fall and liquids are not spilled into the
enclosure through the openings.
■ The product should be serviced by qualified personnel when:
•
•
•
•
The power supply cord or the plug has been damaged; or
Objects have fallen, or liquid has been spilled into the product; or
The product has been exposed to rain or moisture; or
The product does not appear to operate normally or exhibits a marked change in
performance; or
• The product has been dropped, or the enclosure damaged.
■ The product should be connected to a power supply of the type described in the operating
instructions or as marked.
■ If you live in area prone to frequent lightning strikes (e.g., Florida), as a precautionary
measure, unplug the iAMP®500 from the AC power source, especially during severe
thunderstorms.
■ Do not attempt to service the product yourself. All servicing should be referred to qualified
service personnel at Euphonic Audio, Inc.
■ For continued protection against damaging your equipment or causing a fire, replace fuses
only with those of the same type and rating as indicated on the back of the product (For
115V, use T6A 250V fuse. For 230V, use T4A 250V fuse.).
■ Use of the iAMP®500 may cause permanent hearing loss. Do not operate for long periods
of time at a high volume level or at a volume level that is uncomfortable, particularly in a
small, enclosed area. If you experience any ringing in the ears or any suspected hearing
loss you should consult an audiologist.
10
GROUNDING INSTRUCTIONS This product must be grounded. If it should
malfunction or break down, grounding provides a path of least resistance for electric current
to travel, which will reduce the risk of electric shock. The product is equipped with a power
cord having an equipment grounding conductor and a grounding plug. It must be plugged
into an appropriate outlet that is properly installed and grounded in accordance with local
codes and ordinances.
DANGER Improper connection, lack of connection, or modification of the equipment
grounding conductor can result in a risk of electric shock. Check with a qualified electrician
or serviceperson if you are in doubt as to when the product is properly grounded. Do not
modify the plug provided with the product if it will not fit an outlet; instead, have a proper
outlet installed.
Make sure that the speaker connections and AC power connections are both properly made
before powering on the amplifier. Likewise, power off the amplifier before disconnecting the
speaker connections and before removing the AC power cord from the rear connector.
Do not change the VOLTAGE SELECT SWITCH while the unit is powered on! For continued
protection against damaging your equipment or causing a fire, replace fuses only with those
of the same type and rating as indicated on the back of the product (115V, use T6A 250V fuse.
For 230V, use T4A 250V fuse).
3
iAMP®500 DESIGN PHILOSOPHY
O
Please
read all
instructions
before using
this product!
REAR PANEL FUNCTIONS
was to create a compact, full–featured
integrated bass amplifier with a wide bandwidth,
possessing more than adequate power and exceptional
“headroom” (for extra power demands, when needed), an amplifier
capable of driving and extracting all the nuances from EA’s expressive line
of speaker cabinets. Our overall design mandate included balancing between two
competing ideals: simple to use, yet extremely flexible.
UR OBJECTIVE
We took our cue from today’s high-end recording studio equipment, thus creating a
robust integrated amp with an intuitive layout, providing today’s bassist with
exceptional versatility. Notice the “organic” placement of the controls on the Front
Panel. As the signal flows from left to right—from the INPUT SECTION to the TONE
SHAPING SECTION to the OUTPUT SECTION—you adjust the parameters at each stage,
corresponding to actual the signal path within the iAMP®500 itself.
POWER SWITCH: Turns unit on/off.
A/C INPUT: Use appropriately grounded, three-prong A/C plug.
FUSES: For 115V, use T6A 250V fuse. For 230V, use T4A 250V fuse.
SPEAKER OUTPUTS: Two Speakon connectors, wired 1+, 1-.
VOLTAGE SELECT SWITCH: Use this switch to select 115V or 230V 50/60Hz power source.
COOLING VENTS: Your iAMP®500 is so efficient it needs no cooling fan. Although the
iAMP®500 needs no fan, the vents on the side, back and bottom need to be kept clear. If you
are putting your iAMP®500 in a rack, consider a 3-space rack for adequate ventilation.
EA’S QUALITY CONTROL
To ensure your iAMP®500 meets its rigid design specifications:
A
B
C
■
■
■
■
D
A — INPUT SECTION
ACTIVE INPUT: Low Impedance (Low Z) 10K ohms, optimized for active systems (basses
with internal power pre-amps, i.e., those that use batteries).
PASSIVE INPUT: High Impedance (High Z) 1meg ohm, optimized for piezo, and/or passive
systems as well as active basses which have low to moderate output levels.
Additionally, the preamplifier section uses state-of-the-art surface mount components and
construction techniques for lower noise and better reliably. These extensive and timeconsuming procedures guarantee that Euphonic Audio’s production units are of a consistently
high quality. Careful packaging helps ensure safe transport to the customer.
SPECIFICATIONS
STEREO IN: This feature allows the input of an outside signal other than the primary
instrument such as a CD player or Drum Machine.
FIRST STAGE OVERLOAD INDICATOR: A red warning light indicates when excessive input,
dangerous clipping or distortion levels are being sent into this critical first stage of the
iAMP®500. Occasional peaks which illuminate the overload LED are not dangerous.
LEVEL CONTROL: At the maximum setting for Level Control, the red Overload light barely
lights. Avoid prolonged or constant lighting of the red Overload light. If your Active signal is
not loud enough, switch to the Passive input jack, this will provide 6dB more signal.
Every board is pre-tested before it is installed into the amp.
Post assembly, each iAMP®500 is bench-tested before its burn-in phase.
Each unit is burned-in (turned on and allowed to sit “in idle”).
Each unit is individually tested with a bass and speaker cabinets.
Model:
Type:
Power:
iAMP®500
Solid State, Integrated Bass Amplifier with Class D Power Amp
500 watts RMS@4 ohms, 500 watts RMS@2 ohms, 350 watts
RMS@8 ohms, 800 watts peak
Weight:
13 pounds (without optional rack ears)
Country of Manufacture: United States of America
Optional Features:
Jensen Transformer JT-11-DMCF (dealer installed)
Euphonic Audio, Inc. reserves the right to modify design or specifications when deemed necessary, or when materials or procedures dictate.
4
9
C — OUTPUT SECTION
B — TONE SHAPING SECTION
MAIN CONTROL: Adjusts the level going into the power amplifier section. The iAMP®500
was designed to be exceptionally clean, accurate and versatile. If you want a “dirtier”
overdriven-type sound, it is best to use an effects device through the EFFECTS loops (see
EFFECTS SECTION).
“The iAMP offers a lot of tone-shaping
flexibility: Four bands of parametric EQ
plus four well-voiced presets provide almost
unlimited tone-tweaking potential.”
OUTPUT CLIP LED: The iAMP®500 has a limiter that will keep the amp from sustained
clipping. Lighting the LED is not dangerous. When the OUTPUT CLIP LED lights it is just an
indication you are at maximum power.
DI OUTPUT LEVEL: Adjusts the level of the DI, for finer control of levels going to an external
mixing board or recording device. Note that the ground pin of the DI XLR connector is
permanently lifted from ground.
POST/PRE EQ: Sets the DI output to send either a clean (PRE) or colored (POST) signal—
created in the TONE SHAPING SECTION, including PRESETS—to external sources.
DI ON/OFF: Turns DI on and off.
XLR OUTPUT PLUG: For sending a balanced signal directly to low noise studio equipment.
TUNER JACK: Allows for an external tuning device or can be used for an unbalanced Line Out
signal.
PHONES JACK: Allows the use of headphones for silent practice. When using just the
headphone jack for silent practice, be sure that the SPEAKER ON/OFF push button switch is
in the OFF position. For best results we recommend the use of the lower impedance
headphones, i.e. 16 ohms.
D — EFFECTS LOOP (SERIES)
EFFECTS LEVEL: Use this control to adjust the level of the signal returning from the
effects chain.
T
HIS QUOTE FROM BASS PLAYER MAGAZINE MIGHT SAY IT ALL. If
you are new to to the range and flexibility built into the EA
Tone Shaping Section, we offer this primer to help get a good
working knowledge of the iAMP Tone Shaping. Although many are
used to calling this the EQ section we use the more accurate term,
“Tone Shaping”.
We chose to call this the Tone Shaping section because that is exactly
what it does. It allows you to custom contour your tone. The term
“Equalizer” is used to boost or cut specific frequencies inherent in
the listening environment itself, to “equalize the room.” Instead, the
iAMP®500 provides you with extremely pliant tone controls to allow
you the freedom and creativity to develop a wide variety of tones
from any instrument you play through it.
That being said, it is important to remember most listening
environments (clubs, auditoriums, rehearsal halls, etc.) actually
enhance the frequencies below 50Hz of a bass rig, adding “room
resonance” to the sound emanating from the woofer. Conversely,
people in the room will absorb the higher frequencies created by the
midrange and tweeters. Depending upon the timbre desired, you
may wish to keep that in mind, as the sound you are hearing directly
in front of your rig is not the same as the sound perceived in the
listening environment. When in doubt, back off the bass a little and
boost the treble a bit. That way you will be felt as well as heard.
SEND JACK: Connect the cord going to the effects box or pedal here.
RETURN JACK: Connect the cord coming from the effects box or pedal here.
8
5
OVERVIEW
The iAMP’s tone
shaping section is divided into two
sections that can be used
independently or together. The
iAMP has Presets that allow the
player to quickly dial in a great
sound. There is also a section that
allows more detailed tone shaping
options. There are 4 presets, Deep,
Contour I, Contour II and Bright. Each Preset has it's own on/off switch.
■ DEEP: +6dB@50Hz, 1/2-octave bandwidth. Use this control to fill out the bottom end that
is easily lost at lower volume settings. The frequency range that this preset affects is the area
perceived as the "solidity of an instrument,"" or how much strength your sound has. Caution:
when engaged at loud volume settings, this preset could cause permanent loudspeaker and
hearing damage.
■ CONTOUR I: –6dB@500Hz, 1/2-octave bandwidth. This preset was conceived to optimize
fingerstyle playing. This EQ is based upon players' request for a "sculpted" pleasing tone—
specially tailored toward an ultimate finger picking sound. It will also take the "honk" out of
almost any speaker system. CONTOUR I will eliminate a portion of the lower midrange
frequencies, providing wide, deep shaping. At low volume levels, you can use this preset similarly
to a loudness control (which typically boost the extreme low and high frequencies).
■ CONTOUR II: –8dB@750Hz, 1/2-octave bandwidth. This preset was designed to give a
great slap/pop sound. This wide filter removes the upper midrange frequencies thereby
eliminating the harshness that is often present when slapping the bass. CONTOUR II makes this
playing popular style of more sonically pleasing.
■ BRIGHT: +8dB@7.5kHz, 1/2-octave bandwidth. This preset emulates the high-end
response of a vintage Fender® Jazz Bass pickup. It gives you a top end "snap" that dull-sounding
pickup systems cannot. The tremendous amount of boost also compensates for speaker systems
that do not deliver a good upper end response. It can also add sparkle to a lackluster or old set
of strings.
For more detailed Tone Shaping options the player can boost or cut specific frequencies as
desired. The unique design of the iAMP Tone Shaping section presents a visual representation of
the effect on your sound. There are four adjustable frequency ranges:
■ LO CONTROL: +/–18dB shelving gain control, cut or boost, 40–180 Hz
■ LO-MID CONTROL: +/–18dB gain control, 180–1kHz; 1 or 1/2-octave
bandwidth or “Q” switch
■ HI-MID CONTROL: +/–18dB gain control, 800-8kHz; 1 or 1/2-octave
bandwidth or “Q” switch
■ HI CONTROL: +/–18dB shelving gain control, cut or boost, 1–8kHz
Each frequency range has a diagonal slider that centers the frequency to be adjusted and a rotary
boost/cut control knob. Additionally, the Lo-Mid and Hi-Mid have a switch to set the bandwidth
or “Q” to either 1 or 1/2-octave. PLEASE NOTE THAT THE TONE/FLAT SWITCH HAS NO EFFECT
ON THE PRESETS.
6
The iAMP is designed so that either the presets or
the more detailed tone shaping option of the
iAMP can be used individually or together. We
suggest that if both are to be used in conjunction
that first you should dial in your desired tone with the sliders and THEN enhance the sound by
kicking on the presets.
USING THE iAMP’S TONE
SHAPING SECTION
Each slider, from left to right, affects a higher frequency range; stepping up like a ladder. Here is
a step-by-step introduction to the infinite possibilities presented by the iAMP Tone Shaping
Section. First, engage each preset button, one at a time to see if you get the tone you are looking
for. If you still want something different DISENGAGE all Presets. Find the frequency you want
to enhance (or diminish). To do this, estimate the frequency range that you want to adjust (Lo,
Lo-Mid, Hi-Mid or Hi). Boost the Rotary control for that slider by 5–10dB. Play a note and
slowly move the slider until the desired characteristic "blooms". Now that you have isolated the
frequency you can use the rotary control to enhance or diminish it. You might want to add some
bottom to fill out the sound on a low volume gig. Adding midrange will help you cut through
the mix. You might also want to remove some fret noise or string squeak.
Now that you've added or removed certain specific frequency ranges, you can engage different
presets to affect the overall sound. Be cautious as each of these are additive. If you've boosted the
bass by 15dB and then turn on the Deep button, you have boosted the bass by 21dB. This can
cause serious damage to many speaker systems as well as your hearing!
For a long time it has been mistaken that a solid
state amp could not have that big, warm tube
sound. The flexibility of the iAMP design allows
that and many other sounds. Try this setting to
get that fat tube amp sound.
Here is another example for all of you
“Jacophiles” out there! This setting will give you
that great midrange growl and beautiful ringing
harmonics that became the signature of the Jaco
Pastorius bass sound.
“Fat Tube”
“Jaco”
SETTINGS: Lo: +12dB @ 180Hz
Lo-Mid: +5dB@640Hz (1/2 octave Q)
Hi-Mid: N/A
Hi: –12dB@4kHz
Deep Preset Engaged
SETTINGS: Lo: N/A
Lo-Mid: +10dB@640Hz (1/2 octave Q)
Hi-Mid: +7dB@2kHz (1 octave Q)
Hi: +2dB@4kHz
All Presets Off
This is only a guide. Determine your personal settings based on your instrument and your
playing style.
Finally, one more quote from Bass Player Magazine: “The
combined with contour 2's upper midrange dip, produced a full
and clear sound that worked especially well with 4-string basses.
These two presets are so well voiced I never needed to use the
iAMP's powerful parametric EQ during my gig tests. To enhance
the EQ section's intuitive feel, EA angles the frequency-selecting
sliders to give a better graphic representation of their function.
It's easy to find EQ sweet spots by slowly adjusting the sliders.”
7
deep button's moderate bass boost,
CONCLUSION The EA Tone
Shaping Section is extremely
powerful and versatile. Use the
Tone Shaping section judiciously.
Add a little bit at a time.