Transcript
For more information please vis visiit www.krakenamps.co.za or email us at
[email protected]
WARNING AND SAFETY PRECAUTIONS: -
Ensure that the power cord is disconnected from the amplifier when replacing fuses. Replace only with correctly type and value, if fuses keep blowing please see a qualified service technician. No user-serviceable parts inside, refer to qualified service personnel. Ensure that the AC power supply meets the requirements of the amplifier as stated on the back panel. Do not power on the amplifier without a properly connected load. Make sure that the load matches the load impedance setting. Failing to do so could result in severe damage to the amplifier. Vacuum tube amplifiers generate heat, do not power on the amplifier while covered. Avoid contact with the tubes during and directly after operation. Keep away from flammable materials. Avoid contact with moisture, direct sunlight and heat sources. Keep out of reach of children To avoid physical damage to the amplifier clean only with a soft cloth, avoid solvents such as turpentine and benzene. Handle controls and switches with care, avoid excessive force.
START-UP PROCEDURE -
Connect the speaker load to one of the two PARALLEL-CONNECTED SPEAKER OUTPUTS (21)and select the correct SPEAKER IMPEDANCE SETTING (22). If you are going to use the foot switch, connect the foot switch to the FOOT SWITCH CONNECTOR(18) and switch the CONTROL SELECTION SWITCH (20) to foot switch mode. If no foot switch is present switch the CONTROL SELECTION SWITCH (20) to Front Panel Mode. Connect the AC power cable to the IEC CONNECTOR (15)and wall socket, switch on the wall socket. Connect the instrument to the INPUT(1) at the front of the amplifier. Ensure that the STAND-BY SWITCH (14)is in the “Contain” position. Switch on the main POWER SWITCH (15). You can now switch to the desired channel using the front panel controls or the foot switch. Set the VOLUME CONTROL (2 & 9)on both channels to 0. It is recommended that you set all other tonal controls to the 12:00 position but this is not a necessity. 30 seconds after the main POWER SWITCH (15)is turned on you may “Release the Kraken” by switching the STAND-BY SWITCH (14) to the release position. Increase the volume to the desired level on the selected channel. Dial in your tone. Rock out!
AMPLIFIER OVERVIEW FRONT PANEL 3
1
2
4
5
6
7
8
1) INSTRUMENT INPUT JACK Connect your guitar or line level signal cable here. 2) CHANNEL SELECT This switches between channel 1 (Overdrive) and 2 (Clean/Crunch). The front channel controls are disengaged when the CONTROL SELECTION SWITCH (20) is switched to Foot Switch Mode. 3) CHANNEL 1 OVERDRIVE Gritty yet warm and tasteful overdrive is what you get from this channel. High levels off gain with a wide range of tonal option, especially when combined with the master tonal controls 4) GAIN CONTROL This is your primary tone shaping control. It controls the amount of signal gain produced by your guitar signal. In the overdrive channel the gain control starts breaking up early, perfect for high gain, saturated sounds popular with most metal genres. Keep the gain knob low (7:00 – 11:00) for less saturated brighter sound. The middle position (11:00 – 14:00) provides more response and warmer bottom end. This position is recommended for live and recording situation where loud operation is required. In the upper part of the gain control (2:15 – 5:00) you will get the highest amount of saturation and compression, fat low end and enhanced mids with softer attack. This position works well for lower volume operation but is also perfectly suited for brutal, searing tone with huge sustain. 5) TREBLE CONTROL This is the high frequency control in your signal chain. We recommend setting all the tone EQ settings to 12:00 at start. This will most accurately represent the natural tone of your instrument in conjunction with your amplifier. From here you have a good starting point to start experimenting. 6) MID CONTROL This is the middle frequency control in your signal chain. Setting the mids low (scooping) will produce a typical American metal sound. Setting it in the recommended middle position will help the tone cut through a mix better and will give your sound more punch. 7) BASS CONTROL This is the low frequency control. Use this in conjunction with the MASTER BODY CONTROL (13). Higher bass and lower body will produce more attack. Experiment with the tonal EQ controls to get your preferred sound. This is also greatly dependant on the type of speaker load connected. Recommended for the KT50 is a 2x12 closed back cabinet with Celestion Vintage 30 speakers. 8) VOLUME CONTROL This controls the sound of the selected channel. Each channel has its own independent volume control. As with all vacuum tube amplifiers, the tone of the amp will become fuller and
punchier the louder/harder the amp is driven. Note that sustained exposure to loud volumes is not recommended, as permanent hearing damage can ensue. Please use hearing protection in these circumstances. 10
9 9) CLEAN/CRUNCH SELECT Channel two consists of two separate sub channels which have different gain characteristics but are controlled by the same tonal and volume controls. The crunch channel has gain characteristics in between clean and overdrive. This channel is ideal for blues or rock and has great warmth and soul. This channel also works great for use with overdrive pedals. The clean setting is exactly as the name suggests. With the least amount of gain this channel will stay clean at high volumes, turn the gain control up for a louder and fuller clean sound without saturation. 10) CLEAN/CRUNCH CHANNEL GAIN, EQ AND VOLUME CONTROL These controls are similar to that of the overdrive channel.
11
12
13
14
15
11) MASTER PRESENCE CONTROL This controls higher frequencies for both channels that are not controlled by the treble control. Increase this to give sparkle on the clean channel or dial it back to darken your sound on high gain settings. 12) MASTER CHARACTER CONTROL This controls mid-range frequencies for both channels that are not controlled by the mid settings. On higher settings the mids will sound more open, smoother on lower settings. 13) MASTER BODY CONTROL This control boosts the lower frequencies for both channels at or below the normal bass control. Reducing this will make the bass tighter with more attack. 14) STANDBY SWITCH In the “Contain” position, the amplifier tubes are set to idle and no output is produced. This serves the purpose of heating up the tubes before operation and keeping them at optimal temperature during breaks. It is good practice to wait at least 30 seconds before “Releasing the Kraken”, this will give the tubes ample time to reach optimal temperature and prolong the life of your tubes substantially. Switch to the “Release” position when you are ready to play and ONLY IF A PROPERLY RATED LOAD IS CONNECTED. 15) POWER SWITCH Please see the start-up operation for further details.
AMPLIFIER OVERVIEW BACK PANEL
15
16
17
16) AC POWER CONNECTOR Connect your main AC supply here using a standard IEC (kettle) cord. Ensure that the mains supply matches that of amplifier as stated above the connector. 17) FUSE HOLDERS These contain the fuses used to protect the amp. The primary cause of a fuse blow out is power tube failure. Replace with the correctly rated fuses. Follow the start-up procedure, and watch the power tubes as you switch the stand-by switch. You will notice an arc inside one of the tubes if they are faulty, this means the power tubes need to be replaced. Switch the stand-by switch back immediately and switch off the amplifier. 18) POWER TUBE BIASING SECTION This consists of 3 probe points on the lower end of the amplifier and two biasing potentiometers on the upper part. PLEASE NOTE BIASING OF POWER TUBES SHOULD ONLY BE UNDERTAKEN BY QUALIFIED SERVICING PERSONNEL. The middle probe point is the common ground for both power tubes. Measure the biasing of each tube between the probe point on the respective sides of the common ground. The recommended bias voltage for an Electro Harmonix 6L6GC tube is 30mV. Adjust the bias voltage in small increments while simultaneously measuring the biasing voltage. DOING THIS INCORRECTLY CAN RESULT IN DAMAGE TO THE POWER TUBES AND SHOULD BE LEFT TO THE PROFESSIONALS.
18 19 20 19) 5-PIN FOOT SWITCH CONNECTOR Use only the footswitch supplied with the KT50. After market footswitches will not work as they are wired differently and the pin layout is different. 20) EFFECTS LOOP SEND AND RETURN The effects loop provides the user the opportunity to connect effects pedals between the power amp and preamp. Connect the beginning of your effects chain to the SEND output of the effects loop and the end of the effects chain to the RETURN input. 21) CONTROL SELECTION This switches the controls from the front panel and foot switch.
21
22
22) PARALLEL SPEAKER OUTPUT This is the dual output to the speaker load. Either output can be used to connect to a speaker load. Two speakers/cabinets can be run from both output jacks simultaneously. The impedance selector must then be switched to ½ the impedance of one of the cabinets. Both must have similar impedance. E.g. Two 16ohm cabinets are connected, the total impedance will then be 8ohms. 23) SPEAKER IMPEDANCE SELECTOR This allows you to select between 5, 8 or 16 ohm loads. This should correspond to the impedance of the connected speaker/cabinet.
