User manual BBE SOUND 383

[. . . ] This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called "envelope distortion. " The listener perceives this loss of sound integrity in the reproduced sound as "muddy" and "smeared. " In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent. 1 383 FEATURES AND APPLICATIONS · The 383 is perfect anywhere an extremely high-quality, pristine preamplifier is required for the bass guitar · It can be used in the recording studio where a bass amplifier is impractical due to space or loudness considerations · In performance applications, players will find the 383's ergonomics intuitive and easy to use · All players will find the 383's EQ and Dynamics controls, as well as our patented Sonic MaximizerTM Process, afford a wide palette of tonal experiences · Full Function BBE® Sonic MaximizerTM · All tube Class A front-end with interactive 3 band EQ and interactive "bright" switch · Hand-selected premium quality Groove Tubes® 12AX7 preamp tube · Jensen® JT-DB-E transformer balanced DI output · Optical "soft knee" compressor · Custom torroidial power supply transformer · Inputs for both passive pickup and active pickup instruments · 1meg ohm input impedance (Passive input), 100Kohm (Active input) · Ground lift switch · Balanced XLR and 1/4" unbalanced output · Mil-spec circuit boards · Extra thick, extra wide circuit board traces for unequaled electron flow · 1% metal film resistors throughout · Solid 1/4" thick aluminum extrusion front panel for extreme ruggedness IMPORTANT Before you begin, please check the contents within this box to insure that included are: 1. [. . . ] The circuit can be described as interacting, such that when the TREBLE and BASS tone controls are turned to 0 and the MID tone control is turned to -10, then no signal is passed at all. Para-mids 6. FREQ: A range from 250hz to 1000hz is adjustable with the FREQ knob. GAIN: Plus or minus 12dB. 3 6 7 8 9 10 11 12 13 14 Compressor 8. LEVEL: This is a "soft-knee" compressor using a photo-optical cell as it's attenuating element for controlling gain-reduction. The single-knob LEVEL control will lower the threshold at which gain reduction begins and increase the ratio of input vs. output, simultaneously, as it is rotated in the clockwise direction from "0" to "10". IN/OUT: When switched to the "IN" position, the compressor circuit will be engaged as indicated by the green LED. When the incoming signal reaches the threshold, determined by the position of the LEVEL control, the yellow LED indicates that compression is taking place. This switch is superceded by the use of the optional FS-BMAX footswitch. BBE Process 10. LO CONTOUR: This control is a low frequency adjustment for the BBE Process. It provides a boost of 10dBu when turned to its maximum position (clockwise) at 50Hz. DI OUT: This is a transformer balanced low impedance output. Use this output to feed long cable runs or microphone level inputs on a mixing console or recorder 7. MAIN OUT: This unbalanced output is used to connect the BBE 383 Pre-amp to the next subsequent component in the system, i. e. RETURN: Use this jack to connect the 383 to an effects processor's output. SEND: Use this jack to connect the 383 to an effects processor's input. The send jack can also be used to feed the input of a guitar tuner. FUS E F E US FUSE 3 4 5 6 7 8 9 5 Specifications Frequency Response: . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Hz ­ 30kHz +/-3dB Signal to Noise: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100dB@unity THD: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tube section 1%, Post-Tube section less than 0. 02% Maximum Output: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu Noise: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -77 dBu @ unity gain, eq flat Input Impedance: Passive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Meg Ohm Active . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 K Ohm Output Impedance: Balanced XLR . . . . . . . . . . . . . . . . . . . . . . . . . . . 600 Ohms, Pin #2 hot or "+" Unbalanced 1/4" . . . . . . . . . . . . . . . . . . . . . 1K Ohms Interactive EQ: Treble (boost only) . . . . . . . . . . . . . . . . . . 15dB@ 6kHz Mid (cut only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 15dB@ 300Hz Bass (boost only) . . . . . . . . . . . . . . . . . . . . . 15db@ 40Hz Bright Switch: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +10dB@ 10kHz, eq flat Para-mids: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +/- 12dB from 250Hz to 1kHz * 0dBu = 0. 775mVrms Power Requirements: . . . . . . . . . . . . . . . . . . . . . . . . . . . U. S. , Canada & Japan models: 120VAC, 50/60Hz, 8 WATTS Standard model: 220VAC, 50/60Hz, 8 WATTS Fuse: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Replace with the same type FASTBLOW fuse U. S. , Canada & Japan models: . 5A, 250VAC fast-blow type All others: . 250A, 250VAC fast-blow type Dimensions: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19"(W) x 5. 5"(D) x 1. 7"(H) Shipping Weight: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 lbs. Note: Due to continuing product improvement, specifications and design are subject to change without notice. General Operation In order to reduce the risk of damage to any equipment, properly connect all audio and power cables before turning on any components in the system. Most important of all, ALWAYS TURN ON THE POWER AMPLIFIER LAST TO AVOID DAMAGING THE SPEAKERS OR THE AMP. The Bass and Treble controls are mainly "boost" and the Mid control only "cut". While there is no absolutely flat position, the response is reasonably flat with the controls set at TREBLE:2, MID:10, BASS: 2, with the bright switch off. The circuit can be described as interacting, such that the frequencies affected by each control is affected somewhat by the settings of the others. When all 3 tone controls are turned to 0 then no signal is passed at all. [. . . ] Use either the Unbalanced or the Balanced output to connect to a power amp or a mixing console. The Unbalanced outputs are 1/4" monaural phone plugs while the Balanced output is a male XLR connector with a Ground Lift switch to eliminate any multiple ground connections. 6 LIVE APPLICATIONS from DI Out from Main Out Snake to Mic Input Combo amp or power amp and speakers Mixing console from Main Out from Send Tuner Power amp and speakers 7 Combo a RECORDING APPLICATIONS from DI Out to Mic Input -orMain Out to Line Input 50 40 30 20 10 0 Combo a Recorder Mixing console from Main Out to Line Input -orDI Out to Mic Input Computer recording interface Computer 8 Service We recommend that if at all possible, a BBE 383 which requires service be sent to our facility in Huntington Beach, California. We request that a "RETURN AUTHORIZATION" be issued by the dealer from whom you purchased the unit. If this is not possible, call BBE Sound, Inc. [. . . ]