➢ Overdrive/Distortion just on high frequencies: connect HI PASS SEND to input of Overdrive/Distortion
unit, connect MONO RETURN to output of Overdrive/Distortion unit. Switch to PARALLEL, LOOP
LEVEL to 12 o’clock. Set effect as desired. Switching LOOP on will apply Overdrive/Distortion to the upper
frequencies while keeping the low end clear.
➢ Envelope Filters: try using an envelope lter triggered from the HI PASS SEND, try again triggered from
the LO PASS SEND, this will produce different results. Got two envelope lters? Try triggering one from
HI PASS, the other from LO PASS, bring their outputs back into LEFT and RIGHT and set one to lter up the
other to lter down, weird enough? Now switch on the VALVE drive circuit to really give them something to
get their teeth into!
➢ Inserting external audio source: connect outputs of external unit (synth, CD, sequencer, drum machine,
etc.) into LEFT and RIGHT RETURN. Set to PARALLEL with the LOOP LEVEL at 12 o’clock. Switching
the LOOP on will mix the external audio source with the bass signal. Use the output level on the external
source to balance the two.
➢ Effects Loop as a crossover (requires unit with two power ampliers): connect patch leads from HI
SEND to RIGHT RETURN and LO SEND to LEFT RETURN. Set to SERIES with LOOP LEVEL at 12
o’clock. With LOOP selected all left outputs will produce the low frequencies, all right outputs the high
frequencies.
➢ Triggering of external devices such as synth: connect the LO PASS SEND to input of device to be
triggered. Signal will be present at all times and will have high frequency content removed therefore making
it easier for the external device to determine the fundamental frequency.
These are just a few ways in which the EFFECTS LOOPS connections can be used. The congurations are
only limited by the equipment that is available and your imagination.
Stereo/Mono?
The 12 Band preamp is stereo from the EFFECTS LOOPS through to the LINE OUTS. Units with two output
stages (e.g. AH1200-12) remain stereo through to the speaker outputs. Units with one output stage (e.g.
1215, 1210) have the two channels mixed into mono at the nal preamp stage. Therefore although the signal
from the speaker output will be mono, the DI and LINE OUTs retain stereo separation for recording or sound
reinforcement purposes.
(30) TUNER socket (12 Band)
This is an output for connecting to a tuner. The signal here is a buffered version of the input signal before
any processing has been applied. Simply connect a 1/4” jack lead from this socket to a tuner and you will
be able to tune up easily any time without any degradation to the tone. (As the actual level is determined by
the INPUT GAIN, if you wish to tune up silently use the MUTE function, which mutes all outputs except
TUNER, rather than adjusting the INPUT GAIN.)
(31) BALANCED DI OUTPUTS – LEFT, RIGHT, PRE EQ XLR sockets (12 Band)
These are separate low impedance balanced outputs for connecting direct to a stage box or mixer for live or
studio use. This gives the engineer a strong, clean signal without any overspill from other instruments. The
XLR socket is wired as normal: pin 1 = Ground, pin 2 = Signal +, pin 3 = Signal –
The PRE EQ output is taken before any EQ is applied, therefore a higher level, buffered, version of the input
signal. The LEFT and RIGHT outputs are taken after the PRE SHAPE, VALVE, GRAPHIC, COMPRESSOR
and EFFECTS LOOPS, but before the OUTPUT LEVEL control.
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