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3 ENGLISH (please refer to diagram C, Page 28) LEAD CHANNEL 1. Mode Select To access the Lead channel - both front panel ‘mode select’ pushswitches must be pushed in (with or without the foot controller connected). If using the foot controller press the Lead switch. The Lead LED (red) on the front panel and on the foot controller will now be illuminated. FUNCTIONS As you can see the control line up in the ‘Lead’ mode is identical to the ‘Crunch’ mode, except now you are using the other row of controls. Operation of the ‘Lead’ channel is exactly the same as the ‘Crunch’ channel, but with a lot more gain and compression to play with. This channel will still clean up with low gain settings or from the guitar’s volume control. BUT, when wound up the dynamics and response of this channel will follow your every move. When speed picking the amp will follow every note without blurring and when playing slow legato runs, the amazing sustain will bloom into controlled feedback hanging on for as long as you want. Experimenting with the Gain, Volume and EQ controls will yield an extremely wide palette of tonal textures. OTHER FRONT PANEL CONTROLS In the section marked ‘POWER AMP’ there are two pushswitches, one marked ‘V.P.R.’ and the other marked ‘Output Mute’, these work in the following way: V.P.R. - Virtual Power Reduction When this switch is depressed, the power amp circuit is modified allowing it to emulate a lower powered amp, approximately 25 watts. This is done between the phase splitter (inverter) valve and the output valves. In this way, as compared to other methods of power reduction, all four output valves remain running and connected in pentode operation, thereby all valves wear evenly and maintain the full toneful dynamics of that type of connection. Output Mute By the nature of the ‘V.P.R.’ circuit, we can now turn off the signal to the output valves. As the speaker emulating DI output is connected to the same place, this enables the TSL to be DI’d for silent recording, yet maintain the compression and harmonics of a push-pull valve stage. Power and Standby Switches These are a very important part of your valve amplifier and to help maximise the life of your output valves. Please remember these simple but important rules : 1. Always turn the Power switch on first, wait for at least a minute, 2 if possible. This enables the valves to reach their working temperature before the HT voltage is applied. 2. Then turn on the Standby switch. This applies the HT voltage to the valves and makes the amp work. 3. When stopping for a break, turn Standby switch off only. This allows the valves to remain at their working temperature (where they are happiest !) and you do not need to go through the warm up cycle again when you are ready to resume playing. 4. At the end of the gig turn the Standby switch off first, wait a few seconds and then turn the Power switch off. Another important rule to remember, to help prolong valve and amplifier life is after turning off at the end of a gig, let your amp cool down before moving it and certainly before putting into the back of the truck on a cold night. Remember this and your valves (tubes) will love you for it. REAR PANEL (refer to diagram D, Page 29) TSL100 & TSL122 The TSL rear panel contains a number of functions to not only make the amp work but also to expand its versatility. 1. Footswitch Connector The supplied foot controller is connected to the amplifier via this 6 pin DIN socket to allow remote switching of Channels, Reverb and FX functions. See section on 5 way foot controller for details. 2. Effects Loop A & Effects Loop B The TSL supports two effects loops, which can be used in a variety of ways. Loop A when used on its own, is the master loop for the amp and will channel switch from clean to overdrive when you change channels, allowing you to set the individual mix from the front panel Mix controls. Loop B is the specific loop for using effects on the overdrive channels (Crunch / Lead) and if used on its own will only provide effects when on these channels, leaving the clean channel totally dry. When Loop B is in use Loop A becomes available for use solely on the Clean channel. This means that you can have two totally different FX systems, one for clean and one for overdrive. Each loop has its own ‘loop level’ pushswitch, enabling you to select the right send and return levels to suit whatever effects system you are using. With the switch ‘out’, the level within the loop is high (suitable for most pro rack fx). With the switch ‘in’, the level within the loop is set at a much lower signal level (suitable more for floor pedals or lesser spec’d rack units). Note: The loops are in parallel mode until the mix controls are at 10 when the loop converts to series mode. Also, remember that as the loops are between the preamp and the power amp, this is NOT the place for distortion type effects units. 3 & 4. Loudspeaker Outputs & Impedence Select There are three loudspeaker j...
Other models in this manual:Musical Instruments - TSL100 (1.13 mb)