The Master Section - Hughes & Kettner Black Spirit 200 Head Manual De Instrucciones

The Tap LED flashes for about five seconds in sync with the beat to give
you a visual indication of delay time. The Tap function only works when
the Delay is active. If the Delay is off – or more accurately, bypassed –
the effect will not adopt your Tap tempo.
Heads up: The FSM-432 offers a nifty Tap function that lets you control the
Black Spirit 200's delay time via MIDI. Most third-party MIDI controllers
don't let you do this, and the control range is limited with the few that
do. Not many vendors offer the option of setting minimum and maximum
delay times (e.g. the Behringer FCB1010), which you need to use this Tap
function at least to some extent. The problem is that there is no standard
MIDI message for tap, only for time. The correct value for time has to first
be determined by measuring the interval between two taps. Unlike all
other knobs where 0 is the minimum value and 127 the maximum value,
there is no standard value for delay time because practically every effects
processor works with whatever minimum and maximum delay times the
designer happened to prefer.
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Modulation FX: This module serves up four modulation effects –
Chorus, Flanger, Phaser, and Tremolo.
• Mod Type: Each effect is assigned to one quarter of this knob's control
range. The first quarter addresses Chorus, the second addresses Flanger,
the third addresses Phaser, and the final quarter addresses Tremolo. You
can adjust the modulation effect's rate within its assigned quarter. The
more you turn "Mod Type" up, the faster the rate gets.
• Intensity: This knob adjusts the volume of the modulation effects.
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FX Loop: This serial loop lets you patch in external effects devices:
connect the Send jack in the FX Loop section on the amp's rear panel to
your effects processor's input and the Return jack to the processor's output
(see 6.3). The FX Loop button activates and deactivates the loop.
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Cab Type: This knob serves to select one of eight carefully designed
cabinet emulations for the Red Box AE+ out on the back of the amp (see
6.2 "Red Box AE+"). On the back panel, you can switch the output level
fromMic to Line, so whatever you want to connect your amp to, the level
will match. This makes the Red Box AE+ the perfect choice to send your
tone to the PA, monitoring system, or a recording device. No need to rely
on microphones or sound engineers, because the Red Box AE+ does the
job for you.
No. Cabinet Types:
1 1x12" Modern Thiele-Port
2 2x12" Modern Front-Port
3 2x12" Vintage Open Back
4 4x10" Alnico Open Back
5 4x12" Vintage Cab
6 4x12" British Cab
7 4x12" Modern Cab
8 4x12" American Cab
Heads up: Cab Type affects the Red Box out and the Phones out. However,
it does not affect the speaker out when connected to a guitar speaker,
because you won´t need any cabinet emulation for your own speaker
cabinets! If you use fullrange cabinets as your speaker (see 6.1), your
choice of cabinet emulation also works for the speaker out.

5 The Master Section

The Master section lets you adjust the amp's overall volume, Resonance
and Presence, and lets you control the power amp´s saturation behavior.
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Master: As the name suggests, this knob puts the power amp and its
volume level at your thumb and forefinger's command. Handle it carefully
and you will enjoy a gratifying rather than an agonizing aural experience.
Master also contols the volume of the phones output (see 5.21).
Note: Unlike with Hughes & Kettner tube amplifiers, the level of Black
Spirit 200´s Red Box out is not affected by the setting of the Master control
(see 6.2)
Heads Up: Unlike channel and effect controls, the Master knob is not
programmable! It works like any conventional knob, and its physical
position indicates the actual setting. It's always a good idea to back the
Master knob off by twisting it to the far left position before powering the
amp up.
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Resonance: Set the Resonance knob to 12 o'clock, and you will hear
the normal resonance created by the amp-and-cabinet combination.
Twisting it counter clockwise dampens the speakers' and the cabinet's
resonance for a looser, softer sound that sweetens up clean tone. Turning
the knob clockwise intensifies resonance for a tighter, punchier low end
that works well with distorted sounds.
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Presence: This knob controls the amount of harmonic overtones
generated by the amp – the higher the setting, the more intense the effect.
Heads Up: Resonance and Presence can be programmed into every
preset, or these controls can be used as a master control that is not
changed by switching presets, like the Master Volume control. If you want
to use Resonance and Presence as a global control, see section 8.2.
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Sagging: Along with the Gain and Boost controls, Sagging is your
key knob for making new and exciting sounds! This knob gives you
full control over the power amp's saturation level and behavior at any
volume. It lets you delicately control the creaminess of your tone and lets
you dial through decades of guitar sounds with a twist of the wrist. The
Sagging knob offers eight positions: the higher the number, the more sag,
and the more saturation the power amp gets!
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Phones/Line: This output is designed to connect standard headphones
with 6.3 mm (1/4") jack output. Note: you can also use this output to feed
a line signal to any stereo multimedia input, such as a hi-fi system. Please
ask your dealer for matching adapters or cables. To connect this output to
a typical Aux In of a hi-fi System, you will need a cable with a TRS jack
(stereo) at one end to connect it to the phones output of your Black Spirit
200, and two RCA (cinch) connectors on the other end to connect it to the
left and right input of your hi-fi system. You can also connect this output
to any mixing desk using a cable with TRS to 2 x TS (mono) 6.3 mm (1/4")
jack or 2 x XLR. Just make sure the inputs of your desk are panned hard
left/right to benefit from the stereo effect.
Heads up: if the phones output on the front panel is connected, the
speaker out will be switched off.
Heads Up: the phones output delivers a stereo effect designed for
headphones to guarantee a natural hearing experience. For most
applications on stage or in the studio, the mono Red Box out is the better
choice to feed your signal to a mixing desk (see 6.2)
Black Spirit 200 – Manual 1.2
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