G–DEC 30 also has MIDI ports which allow you to link up with other G–DEC 30 players to trade Presets. Connect G–DEC 30 to your computer* to backup Presets, play General MIDI files, or store MIDI songs in the G–DEC 30! It’s time to jam—with G–DEC 30—your new band... *MIDI capable sound card (or MIDI-to-USB device) and MIDI software required. Each G–DEC 30 Preset is a complete “band!” Modify any component or select another from the G–DEC 30 arsenal: • 17 Guitar Amplifiers, each with Gain, Volume,

• This symbol advises the user to read all accompanying literature for safe operation of the unit. • Read, retain, and follow all instructions. Heed all warnings. • Only connect the electric line cord to an earth grounded AC receptacle in accordance with the voltage and frequency ratings listed under INPUT POWER on the rear panel of this product. • WARNING: To prevent damage, fire or shock hazard, do not expose this unit to rain or moisture. • Unplug the AC power line cord before cleaning the un

. F. GAIN—Controls preamp volume and signal distortion, except when Acoustic is the selected Amp Type {H}. G. CH 2 VOLUME—Use to set the loudness of Channel-2 after adjusting GAIN {F}. H. AMP TYPE—Select one of 16 core amplifier circuits for Channel-2 (see next page). NOTE: Use the extreme flexibility of the Amp Type knob wisely! Treble harshness or boomy bass tones can be avoided by using the right guitar settings and playing style for a particular amp type. I. TREBLE/MIDDLE/BASS—Adjusts the hi

2 A super clean amplifier tone with the character of an Acoustasonic™ amplifier good for cotitrumming.amplifier good for cotitrumming.amplifier good for cotitrumming.amplifier good for acotitrumming.amplifier good for acoustitrumming.amplifier good for acoustic strumming. JAZZ 1 A cln etptiid fojtyles with the character of theA clean etptiid fojtyles with the character of theA clean ametptiid fojtyles with the character of theA clean amplifietptiid fojtyles with the character of theA clean ampli

This allows a dense reverb to occur during the time the direct signal is on, but does not result in a “washy” sound as the reverb trails off. This effect is very popular on drums (listen to a Phil Collins record), as well as on other instruments and even voices, particularly where a ‘light” mix is desired. Each of the 14 reverb "selections" can be adjusted for a short reverberation decay time, or for a long decay time, using the top rotary switch (in the positions to the right of the center li

These cables use foil shields to reduce their overall diameter to a reasonable size. Because of the fragility of the foil shields in a snake cable (and because of the high cost per foot) you must take extra care in their handling. Avoid sharp bends in these cables. Also avoid placing heavy objects on a snake cable, or rolling heavy objects across them. Snake cables can be a money saver and a time saver when you are setting up a large, multimicrophone system. They also allow you to move your mixe

Set all pan controls and input equalizer (low, mid, and high) controls at the center detented positions. Also, center the slider type graphic equalizer controls. Set all other rotary type volume controls (Reverb/Effects, Auxiliary, Monitor, Input Gain, etc.) at their “0” positions (fully counterclockwise). All front panel switches should be in the “up” (not depressed) position. The slide switches on the graphic equalizers should be set to the position closest to you, marked “left” and “right” r

We are sure that it will provide you with many years of trouble-free service. At Fender, we know that artistry exists on multiple levels. There is the individual musician (a guitar player, bass player, keyboardist, percussionist, or vocalist) who has dedicated years of practice to his or her craft, and puts their soul on the line every time they get up in front of an audience. And there are sound engineers and others in the technical performing arts, who are every bit as much a creative artist

. . Rear Panel Trans-Impedance Power Attenuator K. OVERDRIVE ON-OFF—Press IN to engage the Overdrive circuit as indicated by the LED. See Footswitc h {Z}. OVERDRIVE Off OVERDRIVE On L. OVERDRIVE—Adjusts the amount of signal distortion provided by the Overdrive effect. M. TONE—Adjusts the Overdrive tone characteristics. N. LEVEL—Adjusts the Overdrive volume output, useful for boosting gain to generate additional tube distortion. O. TRANS-IMPEDANCE POWER ATTENUATOR—When set to FULL VOLUME, the att

This switch button incorporates a red LED which blinks when the amplifier is muted, or when the footswitch is in TUNER mode. D. VOLUME - Adjusts the loudness of the Vintage Tube Tone. E. BASS / MID / TREBLE - Classic, cut-only (passive) tone stack. Pull the BASS knob out for emphasis in the low-frequency range (DEEP). Pull the TREBLE knob out for an increase in the high-frequency range (BRIGHT). Brightness is more apparent at mid settings of the VOLUME control {D}. F. TUBE OVERDRIVE - Switches t