The Bass Micro Synthesizer has the same feature set as the Micro
Synthesizer, but includes a trigger and filter sweep range especially
tailored for bass guitar. The same fat analog synth textures give your
bass a whole new range of possibilities: from percussive stabs to
backwards-sounding bowed sounds.
- True bypass
- All analog design
- Design optimized for bass guitar
- 3-pole analog resonant filter
- 4 Voice mixer section mixes: sub octave, original, octave up and square wave
- Square wave voice can be used as a distortion tone
- Start, stop filter frequency sliders with adjustable rate for full control over the filter's sweep direction and speed
- Adjustable filter resonance control
- Adjustable attack time control for fading-in notes
- Tough and compact die-cast chassis
- 96DC-200BI power supply included
- Dimensions in inches: 4.75 (w) x 5.75 (l) x 2.5 (h)
- Dimensions in mm: 146 (w) x 121 (l) x 64 (h)
The XO BASS MICRO SYNTH can create many of the most popular analog
lead synthesizer textures at a fraction of the normal cost for such
capabilities. Its four voices: GUITAR, OCTAVE, SUB-OCTAVE, and SQUARE
WAVE are completely independent and fully mixable. The BASS MICRO SYNTH
can modify these signals with envelope control for a variety of “bowed”
and “blown” sounds. In addition, a sophisticated swept filter control
allows highly variable frequency adjustments to be made to the signal.
When combined, these controls offer the user a creative capability that
is virtually limitless.
PREAMP GAIN ADJUSTMENT The preamp gain in the Bass Micro Synth has
been set at the factory for use with a bass equipped with single-coil
passive pickups. If you will be using another instrument with higher or
lower output, it may be necessary to readjust this setting. A
screwdriver or alignment tool with a tip width of no more than 1/16” is
required. To access the preamp gain adjustment, remove the bottom plate
from the Bass Micro Synth. Look for the small trim pot in the lower left
corner of the circuit board, it is labeled TRIM1 GAIN TRIM. Turning the
trim pot clockwise will increase the preamp gain. Turning it
counter-clockwise will decrease preamp gain. Please do not touch any
other components when the bottom plate is removed or you risk damaging
the circuit board or the components.
OPERATION The Bass Micro Synth’s controls operate as described below.
In all cases, high-numbered control settings increase the level of the
FOOTSWITCH and Status LED — The Footswitch selects either effect mode
or True Bypass. When the Status LED is lit, the Bass Micro Synthesizer
is in effect mode. When the Status LED is off, the Bass Micro Synth is
in True Bypass mode.
TRIGGER — Determines the input volume at which the filter circuits
will “turn on.” It does not affect any other circuitry. If the TRIGGER
is set too high, the filter may “stutter” due to multiple triggering.
This is especially true if chords are played. It is best to set the
TRIGGER at exactly the sensitivity needed for your playing.
The next four controls of the BASS MICRO SYNTH comprise the VOICE
MIXING section: GUITAR, SUB-OCTAVE (one octave below), OCTAVE (one
octave above), and SQUARE WAVE. Each voice is completely independent and
can be mixed with the others in any degree. Please not the following
GUITAR- Controls the output volume of the input signal through the filter.
SUB OCTAVE — Controls the output volume of the Sub-Octave. The Sub-Octave
effect only tracks single notes.
OCTAVE — Controls the output volume of the Octave. The Octave only
tracks single notes. This voice contains a small amount of harmonic
distortion for added richness of tone.
SQUARE WAVE — Controls the output volume of the Square wave. Intensity
of this voice is also determined by instrument attack or volume. In all
other respects it operates in a similar fashion to a standard distortion
ATTACK DELAY — Determines the time required for the voice signals to
reach full volume. Higher-numbered settings can completely remove the
initial attack of the instrument. Different delay times contribute
greatly to the characteristic sounds of various instruments. It is
recommended that you synchronize your playing to the speed setting of
the ATTACK DELAY.
The final four controls comprise the FILTER SWEEP section.
RESONANCE — Affects the degree of sharpness, or “Q” of the filter.
Higher settings will produce a more emphasized filter sound and also add
a slight boost to the signal.
START FREQUENCY - Determines the frequency at which the filter sweep begins.
STOP FREQUENCY — Determines the frequency at which the filter sweep
ends. This is also the “resting frequency” of the filter, and if the
START and STOP controls are set at the same level no sweep will occur,
though the filter will provide emphasis of that particular frequency
band. In addition to lead synthesizer sounds, START and STOP controls
can be used to simulate attack, decay, and harmonic content of acoustic
RATE- Determines the speed at which the filter sweeps from START
FREQUENCY to STOP FREQUENCY. It is recommended that RATE be
synchronized with your playing speed.
SOUND TEMPLATES- The sample settings include with these instructions
will help you get familiar with your BASS MICRO SYNTH and its controls.
Once you’ve tried all the sample settings, feel free to experiment to
develop your own unique palette of sounds. You can record your new
settings in the blank templates provided.
9V Power Jack — Connect the output plug of the supplied AC Adaptor
into the 9V power jack at the top of the Bass Micro Synth. The Bass
Micro Synth’s maximum current requirement is 55mA at 9VDC. The polarity
of the power jack is center negative. The maximum allowable power supply
voltage is 12VDC.