205L DIRECT MODULE
“Thin it out and make it bright”
BRIGHT: Brightens the high end
GAIN: Input Level Control
TONE: THIN to FAT
(Fat is Flat)
HI-Z IN: 1/4” Hi-Z input
Guitar level to Line level
ON: Turns ON the signal
FAT/THIN: The FAT/THIN knob is designed to take out the mud in the lower strings of a guitar or bass, evening out the
relationship of the lows to the highs. With the addition of the BRIGHT switch, you can add clarity the same way as a guitar
amp bright switch would. The input impedance is 470K ohms, like a tube amp input stage, preventing pickup loading. The
LOAD switch adds a 100K ohm load to the input, changing the tone of a coil pickup slightly.
METER: Output Level, VU scale
THIN+BRIGHT FAT+BRIGHT
FLAT
-20 PAD: -20 dB PAD switch for high level inputs
100K LOAD: Adds a 100K load for changing the
tone of a guitar or bass pickup (coil types)
THIN+no BRIGHT
6dB
215L HI/LO PASS FILTER
“Schweet”
LO-PASS: 500 to 20KHz at 6 dB/oct
NOTE: The filter design is a simple passive
circuit, using the API 2510, 2520 and the
same discrete buffers used in the 550 series
EQs.
HI-PASS: 20 to 600Hz at 12 dB/oct
ON: Hard Wire Bypass
FILTERING: This filter is very gradual, at 6dB/oct for the LO-Pass filter and 12dB/oct for the HI-Pass filter. Its primary design
is intended for reducing the low-end leakage into a Hi-Hat or overhead mic, or reducing the noise and flap on a bass guitar.
Basically, it is not for “fixing” problems, but for contouring the response of a signal without the drastic curves of many EQs and
their associated phase shift.
HI and LO PASS Ranges20Hz 20KHz
225L COMPRESSOR
“Start with all the knobs at 12:00 NOON”
THRESHOLD: +10 to -20 dBu
ATTACK TIME: Fast/Slow/Medium
(Slow is normal)
NOTE: Adjusting either or both controls will
not effect the output level. Much like the 525
Ceiling control, the 225L Auto-Compensates
the output level. Listen and check with the
ON button. It is very subtle!
Ratio: 0 to Infinity
REL: Release Time
ON: Hard Wire Bypass
COMPRESSION: The 225 can compress in a very undetectable way when the RATIO is set at 2:1 and you are in the SOFT
and OLD mode. Likewise, when the RATIO is set at INF, and the HARD and NEW positions are selected, the compressor can
smash what ever is put into it. Sometimes it can be deceiving as to how much is being compressed because of the AutoCompensation of the output level, as you never get to hear how much you “turned it down” and how much you had to make
back up. Fatness in only skin deep...
METER: Shows Amount of Compression
in an expanded scale.
HARD: Sharp Knee at the Threshold
SOFT: Gradual Knee at the Threshold
NEW: “VCA” type Compression
“Feed-Forward”
OLD: Classic type Compression
“Feed-Back”
235L NOISE GATE/EXPANDER
“Start with all the knobs at 12:00 NOON”
ATTACK TIME: Fast/Normal
THRESHOLD: +25 to -15 dBu
NOTE: The DEPTH control is expanded
from 0 to -9dB in the first half of rotation and
-10 to -80 in the second half of rotation for
better control of vocals, etc.
Depth: 0 to -80 dB
REL: Release Time
ON: Hard Wire Bypass
EXPANDING: With the 235 in the GTE (gate) mode, adjust the DEPTH control for the desired amount of gain reduction. Set
the THRESHOLD so the gate comes on at the point that you want the gate to be fully open, but NOT at the quietest level that
will trigger the signal (like you would in the gate mode). Switch to EXP, and the signal will “sneak” up to the preset threshold
level and will then will be fully on, reducing the noise below the threshold without losing any subtle portions of the signal.
METER: Shows Amount of Noise Reduction
EXP: 2:1 Expander, up to the Threshold
GTE: Gate Mode, ON at Threshold
HLD: Release knob is HOLD on time
REL: Release knob is GATE decay time
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