Page 5 Thunderfunk Bass Amp Owner’s Manual April 2007 - revision 8
Thunderfunk Bass Amp Owner’s Manual
Fun with the Parametric: To determine the low frequency response of your speakers, add boost using
the lowest frequency parametric control. You’ll hear an increase in low frequency response. While
playing the lowest note on your bass, turn the frequency control down until the low frequency response
disappears. Turn it back up until you hear the boost again. Look at what frequency the control is set to.
That’s the low frequency response of your speaker cabinet.
Treble Control – This tone control is a shelving type, providing a 15 dB of boost or cut at slope starting
at 2000 Hz, which is above the fundamental notes of even a standard guitar. Frequencies below this are
not really effected, but frequencies above it are boosted uniformly. The control is detented at the 12
o’clock position for an easy and fast flat setting.
This may be a good place to discuss harmonics. It is the sound of natural and addition vibrations that
distinguishes one instrument from another. They are why a piano sounds different than a guitar, for
example, and are a primary reason you have a unique sound.
Harmonics can be defined as weaker vibrations that are higher than and mathematically coordinated with
the fundamental notes. Harmonics are caused by an infinite variety of factors, including for example
where and how you pluck a string, the type of string, the wood the bass is made from, the response of the
amplifier, speakers, etc.
Timbre Control –– This unique control is great for making rapid and useful adjustments to the overall
tone. One use is to compensate for different instruments, for example changing a Rickenbacker to a “P”
bass. Another use is to make a quick mid-set change from a Funk to a Reggae song. Like the Enhance
control, it is a complex adjustment of both treble and bass on one knob. Use it to range from a full to a
punchy bass tone. Turned down you get a deep, full-bass tone, and turned up you get a tight, punchy-bass
tone.
It is suggested you start with the Timbre at the 12 o‘clock setting, set the EQ for the speakers and room,
and then experiment. The control is detented, for an easy and fast flat setting and removal from the
circuit.
TONE REVISITED
How you set your EQ depends on style, equipment, the room, cabinet placement, audience quantity, etc.
When playing in different rooms, cabinet placement and room acoustics play a critical roll, for everyone
but especially for bass. Many clubs, auditoriums, rehearsal halls, etc. tend to naturally enhance the
frequencies below 50Hz, while people in the room absorb the higher frequencies. This is called
Frequency Enhancement, and sometimes it is good, sometimes it causes difficulties.
Low frequencies do tend to be omni-directional – you can’t really tell where they are coming from. Placing
the cabinet on a raised wooden stage will acoustically couple it and significantly boost fundamental
frequencies. Setting it against the wall can couple the walls to your speaker cone, and placement in a
corner can add even more effect. Combine all these and excessive “boominess” is a common result. It is
not heard on stage, but often is at the back of the room. To be felt as well as heard, try backing off the
bass a little while boosting the upper-mids or treble a bit.
When playing with other musicians, it is not unusual for instrument frequencies to interfere with each
other. This is Frequency Masking. EQ settings that once seemed so perfect, don’t work well in a different
room.
While a Thunderfunk is often used "flat" with no additional EQ, the sound next to the cabinet WILL be
different than it is in other places in the room. This phenomena is universal and is often more noticeable
in the audience than on stage, and it is not uncommon for the bass sound to seem a little thin on stage
and the same time sound quite muddy at the back of the room.
