Ampeg B4R

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Price List Rp.11.925.000
Ampeg B4R Head
At 1000watts, the Ampeg B4R is the most powerful amp in its class. Everything you need for today's music...Ultra-Mid circuitry, texture tube emulation, stereo/mono bridge operation, limiter and more. Let's get ready to rumble!

Straight-ahead power and tone so you can rock like a world class act—even before the royalty checks roll in. The 1000-watt B-4R is the most powerful head in its class. Introduced by Ampeg in 1999, this powerhouse head gives you everything you need for today's music. Not only is the B-4R powerful, it's loaded with tone-shaping features like nothing you've ever experienced.

The 9-Band Graphic EQ can either be used to custom tailor your sound to the room, or it can be used to set up a “second channel" for your show-stopping bass solo. In addition to B-4R's five-position Style switch, the Ultra Mid control provides tonal fine-tuning that should satisfy even the most finicky player. And if you want to really push the envelope, just engage the Texture switch to activate our patented tube emulation circuitry. The ultimate biamped bass head—the Ampeg B-4R.

B Series solid-state amps crank out extreme wattage and feature optocoupler limiters, effects loops, and XLR balanced line outputs. All B Series enclosures offer custom LF drivers and compression horn drivers with Level control.
Control panels：

1. 0dB INPUT: The signal output from an instrument (active or passive – typically passive) or a line level signal may be connected here by means of a shielded instrument cable. The signal at this jack is sent into the preamp at full amplitude.
2. -15dB INPUT: The signal output from an instrument (active or passive – typically active) or a line level signal may be connected here by means of a shielded instrument cable. The signal at this jack is padded 15dB before it is sent into the preamp.
3. MUTE: This switch, when depressed, mutes all outputs except the Tuner Out (#41). A footswitch can also control muting if the Mute switch on the front panel is left in the “out”position. (The front panel switch is still active with a footswitch connected.) This is excellent for tuning your bass with an electronic tuner without having to adjust any levels or turn down your house volume.
4. TEXTURE: This switch adds a “tube emulation” stage which changes the tone for a more aggressive sound. Using the Texture switch, you can overdrive the amplifier without typical (and harsh-sounding) solid state clipping.
5. GAIN: This control sets the level of the signal entering the preamp stage. 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 as described above and adjust the Master (#14) to obtain the desired volume level.
6. PEAK LED: This LED will illuminate when the signal entering the preamp stage is near the clipping level. Adjust the Gain control (#5) until a strong signal from your instrument causes this LED to flicker.
7. STYLE: This five-position switch allows you to vary the tone of the amplifier. The following table lists each of the different settings – experiment with the Style and other EQ controls (#8,9,10,18,19) for the results which suit you best.
   POSITION 1: Fully “scooped” mids (mid cut)
   POSITION 2: Traditional passive tone setting
   POSITION 3: Basically flat
   POSITION 4: Boosted high end
   POSITION 5: Basically flat with low end roll off – for loud playing without “muddiness”
8. BASS: This is the primary low frequency control which allows 12dB of cut or boost at 50Hz. The low frequency output is flat at the center position.
9. ULTRA MID: This is the primary midrange control which allows 7dB of cut at 400Hz or boost at 800Hz. The midrange output is flat at the center position.
10. TREBLE: This is the primary high frequency control which allows 18dB of cut or boost at 5kHz. The high frequency output is flat at the center position.
11. EFFECTS MIX: This control varies the mix between the direct (dry) signal and the effects (wet) when the effects loop (#39,40) is used. Full counterclockwise results in all direct signal (no effect) and full clockwise gives all effect and no direct signal. The clockwise position is equivalent to a series effects loop and should be used with such devices as limiters and equalizers.
12. GRAPHIC EQ: This switch activates the graphic equalizer.When a foots witch is used, this switch is disabled.
13. LIMIT DEFEAT: The B4R 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 disabled by depressing this switch. This may result in an increase in output power, but also increases the possibility of distortion. Use discretion whenever playing with the Limit circuits off.
14. MASTER: This control sets the overall output level of the amplifier. For the lowest possible noise level, adjust the Gain control as described in #5 and use this control to obtain the desired volume level.
15. 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.
16. FREQUENCY: This control sets the crossover point between the Biamp High and Biamp Low Outputs when using the amplifier in the biamp mode.
17. BALANCE: This control adjusts the relative level between the low and high frequency biamp signals when using the amplifier in the biamp mode.
18. 9-BAND GRAPHIC EQ: These sliders control the amplitude of the frequencies indicated above each control. The center position of each control is flat: sliding the control upward will increase the output 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).
19. 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.
20. POWER LED: This LED glows green when the Power switch (#22) is ON.
21. ACTIVE LED: This LED illuminates when the EQ is on.
22. POWER: This heavy-duty rocker switch applies the 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.
    
    
23. CIRCUIT BREAKER: The B4R employs an AC line circuit breaker to help protect against damage due to excessive current demands. If the amplifier stops working, check the circuit breaker. If it has opened, 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, have the amplifier checked by a qualified service person.
24. 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!
25. SPEAKER OUTPUTS: The 1/4” jacks offer a convenient method of connecting to speaker cabinets using cables terminated with 1/4” plugs. However, when using the amplifier at or near its full output power, using the five-way binding posts (domestic units) or Speakon® jacks (export units) is recommended. The binding posts/Speakon® jacks must be used when operating in the Mono Bridged mode. (See pages 8 and 9.)
26. FULL RANGE/BIAMP: This switch determines how the signal is sent to the internal amplifiers. In the Full Range position (switch out), a full range signal is sent to both amp channels. In the Biamp position (switch in), the low frequencies are sent to Channel A and the high frequencies are sent to Channel B. (See pages 8 and 9.) NOTE: When Biamping, the Stereo/Mono switch (#27) must be set to Stereo. (See pages 8 and 9.)
27. STEREO/MONO: 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. (See pages 8 and 9.)
28. POWER AMP INPUTS: These jacks connect directly to the 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 Input, Channel B = High Input. (See pages 8 and 9.)
29.  PREAMP OUTPUTS These jacks are direct preamp outputs for use with external power amplifiers, mixing boards, external effects, etc. Connect the external unit inputs to these jacks using shielded instrument cables.
30. See 28
31. See 29
32. 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. When a footswitch is connected, the Mute switch (#3) can still be used; however, the EQ switch (#12) is disabled.
33. BIAMP HIGH/LOW OUTPUTS: When using the amplifier in the biamp mode, the Biamp High Out jack carries the high frequency signal and the Biamp Low Out jack carries the low frequency signal. (See pages 8 and 9.)
34. LINE OUT LEVEL: This controls the strength of the signal at the Line Out jacks (#37,38) and works independently from the Master control (#14).
35. 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 preamp tone settings. With the switch IN, the signal is Post- EQ and is controlled and modified by the tone controls, Graphic EQ and the effects loop.
36. LINE OUT GROUND LIFT: This switch disconnects the ground pin of the line Out XLR jack (#37), which may help reduce residual hum and buzz sometimes picked up in line out signal cables. The ground is lifted when the switch is depressed.
37. LINE OUT JACKS: These jacks supply a pre-Master, line level signal for connection to a house mixing board, recording console or external amplifier(s). The XLR-type jack (#37) provides a balanced signal; the 1/4” jack (#38) provides an unbalanced signal. The signal level at these jacks is controlled by the Line Out Level control (#34) and is governed by the Pre/Post switch (#35).
38. See 37
39. EFFECTS LOOP RETURN: When using external effects, connect the effect’s output into this jack using a shielded instrument cable.
40. EFFECTS LOOP SEND: When using an external signal processor, connect this jack to the input of the effect using a shielded instrument cable.
41. 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 remains active when the house mix is muted.
    
    Specification:
     

Specification: