Ampeg SVT 4 Pro

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Price List Rp.23.150.000
Ampeg SVT 4PRO Bass Head 

The sound is in your head. You've played countless instruments in search of the ultimate soul mate. Now you need an amp that will speak your sound to the audience. That's where the Pro Series heads live. The majority of Ampeg Pro Series heads feature multi-tube preamps (not a single 12AX7 like many competitors), 5-position mid frequency selection, and Neutrik Speak-On connectors that lock and provide better conductivity. A Mute button lets you change instruments in the middle of a set without the annoying "pop," and a Tuner Out jack that stays active even with Mute button on. Pro Series heads are built for the long haul. The units remain cool with variable speed fans that only turn as the temperature dictates. DC supplied filaments ensure noise-free tube performance. And the 1/8 in. thick extruded aluminum front panels not only allow safe racking, the contoured fronts have an awesome look. The 1200-watt SVT-4PRO is the industry's highest powered bass amp. Your creative mind now has the palette to deliver the goods.
control panels：

1. INPUT: Connect your bass guitar here using a shielded instrument cable.
2. TUNER OUT: This jack is provided for connection to an electronic tuner and is always “live,” even when the Mute switch (#3) is engaged. This allows for “silent tuning” as well as providing a monitor feed which stays hot even when the house mix is muted. In addition, this jack may also be used as a -6dB input (when not connected to a tuner).
3. MUTE: This switch, when depressed, mutes all outputs except the Tuner Outs. This is excellent for tuning your bass with an electric tuner without having to adjust any levels to turn down your house volume. A footswitch can also be used to control muting as long as the Mute switch on the front panel is left in the “out” position. (The front panel switch is still active with the footswitch connected. Please refer to #38, rear panel.)
4. -15dB: This switch, when depressed, will attenuate the input signal by 15dB. If your bass has active pickups, depress this switch to better accommodate its output signal level.
5. GAIN: This controls the gain of the preamp. Adjust this control until the Peak LED (#6) flashes on strong signal peaks (but is not illuminated constantly while playing). To obtain the best signal to noise ratio, set the Gain control to the highest possible setting and adjust the Master (#19) to obtain the desired volume level.
6. PEAK LED: This LED will illuminate when the preamp signal is nearing its clipping level, indicating optimum gain setting.
7. COMPRESSION: This controls the amount of signal compression. At the fully counter clockwise position there is no compression; at fully clockwise the compression ratio is 10:1. The sonic effect of compression is reduced dynamics, increase sustain and a more consistent output level regardless of how light or hard the strings are played. The compressor is very transparent– that is, there is very little effect on the tone of your instrument.
8. ULTRA HIGH: This switch, when depressed, increases the high frequency output by 6dB at 5kHz.
9. ULTRA LOW: This switch, when depressed, greatly enhances the amount of low-end bass tones which you can feel and hear, especially the low E and low B strings (5-string basses).
10. BASS: This control allows for 12dB of cut or boost at 50Hz. The low frequency output is flat at the center position.
11. MIDRANGE: This control allows for 15dB of cut or boost at the center frequency selected by the Frequency control (see #12). The midrange output is flat at the center position.
    
12. FREQUENCY: This control allows you to select the center frequency for the midrange control (#11), giving you a choice of five “voices” for the midrange.
    The numbers correspond to the following center frequencies as indicated:
    1=220Hz, 2=450Hz, 3=800Hz, 4=1.6kHz, 5=3kHz.
13. TREBLE: This control allows for 19dB of cut or 14dB of boost at 5kHz. The high frequency output is flat at the center position.
14. BRIGHT: This switch, when depressed, adds a more lively top end response to the input signal.
15. GRAPHIC EQ: This switch, when depressed, enables the 9-band Graphic EQ (see #23 and 24). The sound of your bass will only be affected by the settings of the EQ slider controls when this switch is depressed, or when a footswitch is pressed. (A footswitch will override the front panel switch. Please refer to #38, rear panel.)
16. LINE OUT LEVEL: This controls the strength of the signal at the Line Out jacks (#40,41,44,45, rear panel).
17. EFFECTS BYPASS: This switch, when depressed, bypasses the Effects Loop. (A footswitch will override the front panel switch. Please refer to #38, rear panel.)
18. LIMIT DEFEAT: The SVT-4 PRO employs internal limiter circuits to help keep the power amplifier’s output clean at extreme volume levels. (All amplifiers may begin to clip their output signals as they approach maximum output levels, resulting in potentially speaker-damaging distortion.) These circuits may be defeated by depressing this switch, which may result in an increase in output power but with the possibility of distortion. Use discretion whenever playing with the Limit circuits defeated.
19. MASTER: This controls the overall output level of the amplifier. For the best results, adjust the Gain control as directed (see #5) and use this control to obtain the desired volume level.
20. LIMIT LED: This LED will flash any time the internal limit circuit is called upon to keep the amplifier’s output signal clean. This indicates that the amplifier is nearing full output and the limiter is keeping it from clipping the output signal.
21. CROSSOVER FREQUENCY: This sets the crossover point between the Biamp High and Biamp Low Outputs when using the amplifier in the biamp mode. (See page 13.)
22. CROSSOVER BALANCE: This adjusts the relative level between the low and high frequency biamp signals when using the amplifier in the biamp mode.
23. 9-BAND GRAPHIC EQ: These sliders control the amplitude of the signal at the frequency indicated below each control. The center position of each control is flat: sliding the control upward will increase the output signal level of that frequency; sliding the control downward will decrease it.
    The Graphic EQ can be used in two ways: 1) To fine tune your sound, make small adjustments at the desired frequencies and leave the EQ on throughout the entire session. (This is great for adapting to varying room acoustics when going from club to club, etc.) 2) For a completely different sound, make larger adjustments and only activate the EQ when you want a “second channel” sound (such as during bass solos).
24. LEVEL: This is the output volume control for the Graphic EQ and only affects the signal when the EQ is engaged. If the EQ’d signal is too soft, slide the Level control up; if it’s too loud, slide the control down.
25. POWER LED: This LED illuminates green when the Power switch (#27) is depressed.
26. ACTIVE LED: This LED illuminates when the Graphic EQ switch (#15) is depressed.
27. POWER: This heavy-duty rocker switch applies AC power to the amplifier: the amp is ON when the top of the switch is depressed, OFF when the bottom of the switch is depressed.
    
28. CIRCUIT BREAKER: The SVT-4 PRO employs an AC line circuit breaker to help protect against damages due to excessive current demands. If the amplifier stops working, check the circuit breaker.
    NOTE: When the circuit breaker opens, the button will be protruding and showing a contrasting color. You can reset the circuit breaker by pushing it in until it latches. The breaker must cool down for a short time before the button will latch. If the circuit breaker opens repeatedly with no signal input, have the amplifier checked by a qualified service person.
29. AC LINE IN: Firmly insert the supplied AC power cord into this socket until it is fully seated. Plug the male end of the cord into a grounded AC outlet. DO NOT DEFEAT THE GROUND PRONG OF THE AC PLUG!
30. AC OUTLET (Domestic units only): This unswitched outlet lets you connect any AC powered device (such as an effects unit or an electronic tuner) up to a maximum of 300 watts. The jack is “hot” whenever the amplifier is plugged into a live AC outlet, regardless of the setting of the amplifier’s Power switch.
31. SPEAKER OUTPUTS: The Speakon® Jacks: Use of these heavy-duty connectors is recommended when playing at full output levels. Connect the amplifier to your speaker cabinet(s) using heavy gauge speaker cables terminated with the appropriate connectors. (See text to left of jacks for
    pinout information.) The 1/4” Jacks: These mono 1/4” jacks (two per channel, wired in parallel) offer you a convenient method of connecting the amplifier to your speaker(s) using cables terminated with 1/4” plugs. (Whenever playing at full output levels, it is recommended that you use the Speakon® jacks).
32. STEREO/MONO BRIDGE SWITCH: This switch sets the operating mode of the amplifier. In the “out” position the amplifier is in the Stereo Mode; with the switch in the “in”position the amplifier is in the Mono Bridged Mode.
33. POWER AMP INPUTS: These jacks connect directly to the internal power amp for use with external preamps. When using external sources, connect the OUTPUT of the sources to these jacks using shielded instrument cables to feed the signals into the power amp sections. The internal signal is disconnected when a plug is inserted. In the Mono Mode, Channel A = Input. In the Biamp Mode, Channel A = Low (frequency) Input, Channel B = High (frequency) Input.
34. PREAMP OUTPUTS: These jacks are direct preamp outputs for use with external power amplifiers, mixing boards, external effects, etc. Connect these jacks to the input jacks of an external amp using shielded instrument cables.
35. See 33
36. See 34
37. EFFECTS BYPASS FOOTSWITCH: Connect a single button footswitch to this jack for remote control of the Effects Loop. Using a footswitch overrides the front panel Effects Bypass switch.
38. GRAPHIC EQ/MUTE FOOTSWITCH: Connect a two button footswitch to this jack for remote Mute and EQ On/Off control. On the stereo 1/4” plug, the tip controls Mute and the ring controls EQ On/Off. The EQ footswitch overrides the front panel switch and the Mute function is available from either location.
39. BIAMP HIGH/LOW OUTPUTS: When used in the biamp mode, the Biamp High Out jack connects to the high frequency power amplifier and the Biamp Low Out jack connects to the low frequency power amp. (See pages 12 and 13.)
    
40. TRANSFORMER BALANCED LINE OUTPUT JACKS: These jacks supply a balanced signal for connection to a house mixing board, recording console or external amplifier(s). The signal level at these jacks is controlled by the front panel Line Out Level control (#16) and is governed by the Stereo/Mono switch (#42) and the Pre/Post switch (#43).
41. See 40
42. LINE OUT STEREO/MONO SWITCH: This switch is active only when the Pre/Post switch (#43) is at the “post” position (switch depressed). When active, this switch governs the signals at the Line Out jacks as follows: In the Stereo Mode (switch out):
    •The Channel A line out jacks (#44,45) supply a signal from the Effects Loop Return Right/A jack (#47).
    •The Channel B line out jacks (#40,41) supply a signal from the Effects Loop Return Left/B jack (#46). In the Mono Mode (switch depressed):
    •The Channel A line out jacks (#44,45) supply a “wet” mono preamp signal – any external effects are applied to this signal. The Effects Loop Left and Right returns are summed together, creating a mono effects signal.
    •The Channel B line out jacks (#40,41) supply a “dry” mono preamp signal – no external effects are applied to this signal.
43. LINE OUT PRE/POST SWITCH: The signal at the Line Out jacks can be set to either Pre or Post EQ with this switch. With the switch in the OUT position, the signal at the jacks will be Pre-EQ. This is a direct output not affected by any EQ or boost settings. With the switch depressed, the signal is Post-EQ and is controlled and modified by the tone controls, Graphic EQ, the Master level control, the effects loop and the Line Out Stereo/Mono switch (#42).
44. See 40
45. See 40
46. EFFECTS LOOP RETURN LEFT/B: When using stereo effects, connect the effect’s left channel output into this jack. Do not use this jack with mono effects.
47. EFFECTS LOOP RETURN RIGHT/A (MONO): When using stereo effects, connect the effect’s right channel output into this jack. When using mono effects, connect the effect’s output into this jack.
48. EFFECTS LOOP SEND: When using an external signal processor, connect the INPUT of the effect to this jack using a shielded instrument cable to send the post-EQ signal to the effect for processing.
    NOTE: The effects loop (#46/47) may be bypassed by the front panel switch (#17), or by the use of a footswitch.
49. TUNER OUT: This jack is provided for connection to an electronic tuner and is always “live,” even when the Mute switch (#3) is engaged, allowing for “silent tuning” as well as a monitor feed which stays hot even when the house mix is muted.

Specification: