AdvancedValvestateTechnology
AVT100X
Owners Manual
From Jim Marshall
I would like to thank you personally for selecting one
of our Valvestate AVT amplifiers.
Ever since its initial launch in the early 1990’s, the
original Marshall Valvestate technology received
worldwide acclaim and set a new standard in affordable
quality amplification. However, my dedicated team of
designers are constantly looking for methods to make our
amplifiers sound even better. As they are all guitar players
themselves this process has become a passion within the
design department.
As the name Advanced Valvestate Technology (AVT) suggests,
your new amplifier benefits from their research and utilises their
latest circuit innovations, all of which are totally unique to
Marshall. By emulating the feel and response of an all-valve
amplifier even more closely, the AVT range perform brilliantly
and represent yet another major step forward in guitar sound
technology.
I suggest that you read this manual thoroughly before operating
your new amplifier and keep it in a safe place for future
reference. This will help you to derive maximum enjoyment from
our Advanced Valvestate Technology.
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Wishing you every success.
Yours Sincerely,
1
AVT100X Front Panel FeaturesIntroduction
What is AVT?
Advanced Valvestate Technology, or AVT for short, is a major step forward in hybrid amplifier design
which is exclusive to our Advanced Valvestate Series of amplifiers. It has evolved from the original,
critically acclaimed Marshall Valvestate technology, but is improved so that it emulates even more
closely the feel and response of the classic Marshall all-valve power stage...without using valves.
It is not only the power stage that has been significantly improved in the series either. Much careful
attention to detail and many hours of development have also gone into the preamp section too. As a
result, each AVT channel offers the widest possible range of control and shape to your sound, with an
ECC83 (a.k.a.12AX7) preamp valve adding to the all-important tone and feel of these latest Marshall
creations.
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Valve Drive Preamp
As just stated, each amp in the range boasts a preamp stage equipped with an ECC83 Dual Triode
valve. Drawing on our vast experience in this field, we have gone to great lengths to ensure that this
precious device delivers maximum sonic benefit at all settings and volume levels. As a result, the
clean sounds ring with the ‘bell-like’ harmonics that only a valve preamp can deliver and the break-up
is never harsh or unnatural sounding. Whenever an AVT Overdrive channel is selected the ECC83’s
dual triode is saturated to its limit, providing the dynamics and feel worthy of a place in the Marshall
hall of fame.
Power Amp Delivery
The same sort of toneful care and attention was also focused on the all-important power stages of the
AVT series too. Our goal was to ensure that each one would create the warm, musical feel and 3dimensional sounds that have made our all-valve power amps world renowned. In addition, these AVT
products were designed to deliver the goods in the often hostile and unpredictable environment of the
live performance stage - which is why all the AVT power amps, from the AVT50X upwards, are fan
cooled for optimum reliability.
'Extended Bass Response' Loudspeakers
Knowing how important the relationship between the amplifier and speaker is, this is another area
where we spent a great deal of time and effort when developing the AVT Series. By working extremely
closely with our long-term colleagues at Celestion Loudspeakers, we have successfully developed a
range of speakers which, through radical design, re-define the state-of-the-art in rock guitar
reproduction. In a nutshell, they allow the compact closed back cabinets used in the AVT range, to
maintain the bottom end delivery normally only associated with a full 4 x12 cabinet set-up.
DFX Onboard
At Marshall our aim is to create products that offer our fellow guitarists true inspiration in the practice
and performance of their art. When integrating DFX (Digital Effects) into the tonal topology of AVT, the
greatest care was taken to ensure that the highest level of signal integrity was maintained. Through
careful shaping and mixing of the ‘wet’ (processed) and ‘dry’ (unprocessed) signals, we have ensured
that the onboard effects enhance your tone while adding none of the nasty, artificial ‘grain’ often
associated with DFX. Different effect types can be assigned to the Clean and Overdrive channels and
can, of course, be turned on and off via the sturdy 6-way LED foot controller supplied with your amp.
2 3
I. The Pre-amp Section
Your AVT100X combo amp boasts three
independent channels: Clean, Overdrive 1 and
Overdrive 2. The preamp section is where the
gain, tone and relative volume of these three
channels is determined.
1. Input Jack Socket
This is where you plug your guitar into the amp.
You must always use a screened (shielded)
guitar cable and never use an unscreened
(unshielded) speaker cable. Also, this cable
should be one of good quality. If you are in any
doubt regarding this, your Marshall dealer will be
more than happy to help and advise you.
2. Clean Channel Selector Switch
This allows selection of the Clean channel via
the front panel.
3. Clean Channel Gain Control
This rotary control regulates the drive into the
two cascaded valve stages of the preamp.
Lower settings will give you a wide range of well
defined, warm clean tones.
At higher Gain settings you will pass through
natural, valve-induced compression and into an
increased level of desirable ‘break-up’ (a.k.a.
‘crunch’) which is perfect for subtly overdriven
blues/rock.
4. Bright Switch
Most of the Gain controls in classic Marshall
amps have been fitted with what is known as a
‘treble bleed capacitor’. This device allows extra
high frequencies to be ‘bled’ through to the drive
section when the Gain control is at low settings.
Engaging the Bright Switch will ‘bleed’ extra high
frequencies into the drive stage of the Clean
channel, giving you a bright, clean tone perfect
for many styles, including funk and country.
The higher the Gain control is set, the less effect
the ‘treble bleed capacitor’ has. As a result, at
maximum Gain settings, the bright switch will
have no audible effect at all.
5. Clean Volume Control
As its name suggests, this control determines
the volume of the clean channel. The actual
setting you choose will be dependent on how
loud you want the channel to be, and also on
the type of sound you have selected on the preamp. Due to the remarkable realism of our
Advanced Valvestate Technology, once the
Volume control is turned-up past a certain point
the preamp will start to push the power amp
section into creating its own, desirable distortion
- just like an all-valve Marshall amp. When this
occurs, the AVT’s power amp will start to add
musical harmonics, compression and ‘break-up’
into your sound.
Note: As each channel has its own volume
control, you can easily balance the levels of all
three channels as you so desire. Once set to
your satisfaction, these controls can be left
alone and you can use the amp’s Master
Volume knob (16) to set your overall volume
level.
6. Clean Tone Controls
The Clean channel is equipped with rotary Bass,
Middle, and Treble controls. These three
passive EQ controls are designed to achieve
maximum tonal variation from your AVT
amplifier. Just like the tone controls on our
famous all-valve amps they are highly interdependent on each other. As a result, the way
each one functions depends on the exact
position of the other two controls. This is
especially true of the Bass and Treble controls
in relation to the Middle control. As you will
discover, the lower the Middle control is set, the
more ‘reactive’ the others become.
As tone is very much down to personal taste,
experimentation and experience is probably the
best way of learning how these three controls
will affect your sound. To offer you some
guidance, suggested settings are shown later on
in this manual.
* Points to remember are:
When selecting a sound on any amp:
a) The tone and output level coming out of each
guitar is as widely variable as guitars
themselves. Remember, guitars and also
pickups are not designed (nor intended) to be
equal. Therefore, amp settings will vary to suit
both your guitar and your playing style, and, by
necessity, are at your discretion.
b) The tone of your sound is also dependent on
the way you set-up the Volume, Gain and Tone
controls of your amp. Taking the time to adjust
them to taste will further enhance the sonic
textures of your
As is true of all the best
.
VT
A
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things in life, it is worth investing some time
playing around until you find the desired sweet
spot!
Note: The amp’s Master Presence control (17)
affords you further adjustment of the high end.
7. OD1 Channel Select Switch
Pressing this front panel switch selects the
Overdrive 1 (OD1) channel of your AVT.
8. OD1 Gain Control
This rotary control can be best described as the
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‘sonic brain’ of the OD1 channel. Lower Gain
settings will produce well-defined, natural
sounding overdrives which have a nice ‘cut,’
making them perfect for funky, blues rock.
Higher gain settings will see the sound start to
get more ‘rounded’ as the AVT’s pre-amp valve
is pushed into saturation.
9. OD1 Scoop Switch
Fine tuned to create the most awesome mid
‘scoop’ imaginable, OD1’s Scoop circuitry is
more than just a pre-set middle control. Instead
it actually reconfigures the whole post-EQ
voicing of the channel - from low to high.
Because of this, even though the resulting
‘scooped’ sound that occurs when the switch is
activated (pushed ‘in’) is totally extreme, the
channel’s overall tone still remains tight and
focused.
10. OD1 Volume Control
As its name suggests, this control determines
the volume of the OD1 channel. The actual
setting you choose will be dependent on how
loud you want the channel to be, and also on
the type of sound you have selected on the preamp (i.e.: high Gain settings will generate much
more preamp output level than lower, cleaner
sounding Gain settings).
Due to the remarkable realism of our Advanced
Valvestate Technology, once the Volume control
is turned-up past a certain point, the preamp will
start to push the power amp section into
creating its own, desirable distortion - just like
an all-valve Marshall amp. When this occurs, the
AVT’s power amp will start to add musical
harmonics, compression and desirable ‘breakup’ to your sound.
As previously stated, each channel has its own
volume control so you can easily balance the
levels of all three channels. Once set to your
satisfaction, these controls can be left alone and
you can use the amp’s Master Volume knob (16)
to set your overall volume level to best suit each
playing situation and venue.
11. OD2 Channel Select Switch
This selects the Overdrive (OD2) channel of
your amp.
12. OD2 Gain Control
Cranking the OD2 Gain control will unleash the
most extreme gain levels ever found on a
Marshall Valvestate amplifier. The higher
settings of the OD2 gain control can be likened
to driving the front-end of an already raging
Marshall valve amp with a high gain, overdrive
stomp box. If you’ve already experienced the
tonal pleasure of ‘front ending’ a Marshall valve
amplifier in this way, you will appreciate the
energy and dynamics of this type of set-up!
Turning the OD2 Gain control clockwise will see
more of the already smouldering signal being
sweetly compressed and ‘rounded’ by the
unique characteristic of the AVT’s Valve Drive
stage as it is driven over the top into total
saturation. This channel can also be as nasty
and ‘in-yer-face’ as you would like. Engaging the
OD2 ‘Scoop’ button (13) will take this channel
onto a new level of cranium crushing crunch,
perfect for modern (a.k.a. ‘nu’) metal.
13. OD2 Scoop Switch
As is true of the OD1 Scoop, this circuit acts like
an advanced, pre-set contour control that not
only ‘scoops-out’ the mids but also shapes the
highs and lows for a tight, focused sound.
Engaging OD2’s Scoop Switch loads you up
with a ‘bottom heavy’ sound perfect for the detuned, high-gain aggression favoured by many
modern acts.
valve amplifiers such as the 100 Watt ‘Plexi’ and
the JCM800 2203, making it a foundation stone
for that instantly recognisable and
unsurpassable ‘Marshall Sound.’ As was the
case with the Clean channel’s EQ network,
these controls are interactive and, as a result,
allow endless tonal possibilities.
Note: Remember that in addition to these three
controls, further tonal adjustment is also
afforded by the Scoop button (13) and also the
Master Presence control which is explained later
(17).
II. The Master Section
These controls adjust the power amp section of
your AVT and determine the overall Volume and
Presence of the amplifier.
16. Master Volume
Once you have set the relative volumes of your
AVT’s channels, this control governs the overall
volume of the amplifier.
17. Master Presence
A feature normally only found on expensive
valve amplifiers, the Presence control affords
you increased high frequency control by altering
the power amplifier’s feedback. Increasing the
Presence control will emphasise high-end ‘fizz’
in overdriven tones and top-end ‘sparkle’ in
clean sounds.
14. OD2 Volume Control
This control regulates the drive of the OD2
channel into the power stage of the amplifier,
hence controlling its output volume. You will find
that the louder you go, the looser the bottom
end of your sound will become. Having said this,
the closed-back cabinet design of your AVT is
such that it will deliver tight, well-defined low
end at much higher volumes than any other
‘hybrid’ amplifier known to man.
15. Overdrive Tone Controls
Your AVT is equipped with rotary Bass, Middle,
reble EQ controls which are shared
T
and
between the two Overdrive Channels, OD1 and
This EQ section boasts a tone circuit
OD2.
identical to the one used in legendary Marshall
4 5
lII. FX Section
A. Parallel FX Loop
Your AVT boasts a rear-panel mounted Parallel
FX loop for use with external effects devices.
This FX loop is Mono so if using a stereo effects
processor you would need to connect to the
‘mono’ output on the processor.
18. FX Loop Mix Control
(Clean & Overdrive)
When an effects unit is hooked-up to the
aforementioned FX loop, this control adjusts the
FX Mix for all three channels. Turning it
clockwise increases the amount of effect you
hear - from ‘dry’ (0) to ‘wet’ (10).
Please note that the FX mix on your external
processor should be set to maximum (i.e. ‘wet’).
B. Internal Digital FX
As mentioned in the introduction of this manual,
the AVT100X features a DFX (Digital Effects)
section which adds digital effects to all three
channels.
The DFX section boasts 16 on-board effects and
three controls - DFX Mix, Adjust and Program.
We chose these particular effects algorithms to
give you a comprehensive palette of natural
sounding options. When developing the DFX
section, our aim was to enhance the overall
sound of the amplifier and, most importantly,
allow the effects to work with you instead of
masking your all-important tone underneath
layers of artificial sounding digital signal
processing.
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The first 10 programs offered are all Reverbs. Reverberation effects recreate the natural echo
reflections found in physical environments such as halls and rooms or, in the case of plate reverbs, a
mechanically vibrating metal plate. These echoes are extremely complex in nature and are, therefore,
notoriously difficult to recreate. In developing these 10 programs we've gone to great lengths to
ensure that none of the harsh digital ‘graininess’ normally associated with some digital reverbs is
present.
Below is a brief description of each of the 16 DFX programs available:
19. DFX Mix Control
(Clean & Overdrive FX)
This determines the level of the internal effects
selected by the Program control (21). In general
you will find that the modulation effects (e.g.:
Chorus, Flange) require more level than the
reverbs and delays. As always, let your ears
decide what is right!
22. Digital FX Program / Adjust Table
This lists the 16 programs selectable via the
Program control (21) and also indicates which
parameter the Adjust control (20) modifies for
each one. For added convenience, this table is
shown below.
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1 Hall A: this is a large, bright sounding, concert hall. “Wembley Arena, are you ready to
rock!?”
2 Hall B: warmer sounding than Hall A, this program is perfect for adding depth and character
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to clean and acoustic tones.
3 Hall C: a medium sized hall with 12ms of delay before the reverb starts.
4 Room 1: a hardwood studio with lots of early reflections. Perfect for acoustic type sounds.
5 Room 2: perfect for adding some subtle ambience.
6 Room 3: warmer sounding than Room 1, perfect for clean or acoustic work.
7 Plate 1: a bright, transparent plate sound ideal for lead work.
8 Plate 2: warmer sounding than Plate 1, this program is great for adding sustain, especially
on clean and acoustic tunes.
9 Plate 3: an accurate emulation of a vintage tube plate reverb. As this program has very little
low end it is great for adding ‘cut’.
10 Gated Reverb: by ‘chopping-off’ the end of the reverb’s decay ‘tail’ via a Noise Gate, this
program is great for spicing-up chord stabs without cluttering up your sound.
11 Chorus: splitting the signal and then mixing the dry signal with a detuned version creates this
popular effect. To add to the subtle ‘widening’ this creates, the detuned signal is modulated
by an LFO (Low Frequency Oscillator) which causes the detuning to vary. The result is a
subtle, lush sound that is equally effective on both clean and dirty tones.
12 Flange: similar to chorus but much more ‘jet’ like in nature.
13 Delay: this creates an echo repeat of the original signal. The delay time is adjustable in 10
millisecond (ms) increments and can be set to be as long as 1270ms which is well over 1
second.
14 Chorus/Room: as the name suggests, this combines Chorus and a large room Reverb.
15 Chorus/Delay/Room: if program 14 isn't dramatic enough for you then this is definitely the
one for you, as it adds Delay to the Chorus & Reverb mix!
16 Modulation: this effect is similar to the chorus effect but is less subtle and can be used to
create rotary speaker-like effects.
20. Adjust Control
(Clean & Overdrive FX)
For each of the 16 selectable DFX a particular
parameter is adjustable. For example, when a
Reverb is chosen, the decay (how long the
reverb will be heard before it fades away) is
adjustable via this control. The ‘Program/Adjust’
table (22) on the front panel of your amp lists
what the Adjust control does for each of the 16
programs.
21. Program (Clean & Overdrive FX)
This selects each one of the 16 on board digital
effects. The DFX available include single effects
such as Reverb (9 types), Delay or Chorus and
also multi-FX such as Chorus/Delay/Room. To
add further to the flexibility of the DFX sections it
can be switched on and off via the sturdy, 4 way
foot-controller which comes supplied with each
amp.
23. Power Switch
Wait for it...yes, this switches the amp on and
off! When the amp is on the power switch is
illuminated and vice-versa. Advanced power
amplifier muting circuitry provides anti-thump
protection on power up and down.
Important Note: As is the case with an all-valve
amplifier, there will be no signal heard until the
amp’s ECC83 preamp valve warms-up and
starts to pass signal. This can take up to 15
seconds so don’t panic!
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AVT100X Rear Panel Features
!!
Suggested Settings
1. Mains Input Connector
Your AVT is provided with a detachable mains
(power) lead which is connected here. The
specific mains input voltage rating that your
amplifier has been built for is shown on the back
panel. Before connecting for the first time,
please ensure that your electricity supply is
compatible with your amplifier. If you have any
doubt, please seek advice from a qualified
technician. Your Marshall dealer will help in this
respect.
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2. Loudspeaker Jack Sockets
There is one speaker jacksocket on the
AVT100X, marked Internal (8 Ohm), this is
where the output of the AVT power amplifier is
connected to its internal 8 Ohm Celestion
loudspeaker.
WARNING:
Always provide the AVT100X with a load equal
to, or greater than, 8 Ohms.
3. Footswitch
For connection of the supplied Stage Foot
Controller (PEDL-10038). This sturdy 4-way
Marshall footswitch allows instant selection of
the 3 channels, plus the DFX. It also features
LED's to indicate status.
4. Headphone
The headphone output is fully emulated using
an improved version of the circuitry found on the
industry standard JMP-1. Turning the Master
Volume (16) to zero will provide silent practice.
5. Emulated Line Output
This jack socket carries a specially treated
output signal from your AVT that accurately
emulates the sonic signature of a Marshall 4x12
cabinet. This unerringly accurate emulation
circuitry is Marshall's most advanced to date
and was developed via countless hours of
technical research, playing, listening and finetuning. This output can be used in both live
performance and recording situations to achieve
authentic guitar amp tones, without having to
use a microphone. Turn down the Master
Volume (16) for silent recording.
FX Loop
As already mentioned, the AVT100X boasts a
Mono Parallel FX loop for connection with
external effects units. In addition to the FX Mix
control on the front panel (see ‘Front Panel
Features,’ point 18) this FX loop comprises of an
FX Send jack, an FX Return jack and an FX
level control button.
6. FX Return
For connection to the output of your external
effects device.
7. FX Level
This should be set to match the level of the
processor being used (generally -10dB for a
stomp box, +4dB for a professional, rack unit).
8. FX Send
For connection to the input of the external
device being used.
* FX Loop Hints
a) Always use high quality, shielded patch
cables.
b) If the processor being used has an input level
control, ensure it is set correctly.
c) Time based effects (delays & reverbs) and
modulation effects (chorus, flange, phase, etc.)
are ideal for use in a Parallel FX loop.
d) Certain stomp box effects such as Wah,
distortion, overdrive and fuzz were designed
specifically for use in-front of the amp and
sound best when used that way. This said, tonal
beauty is in the ears of the beholder so, if such
a pedal sounds great to you when used in an
FX loop then go for it! Sometimes, there are no
rules...
On all the following suggested settings you will immediately notice how rich and authentic the sounds
are. As you will hear, even on clean settings Advanced Valvestate Technology adds those subtle
harmonics and that desirable compression which only a classic all-valve amp can normally deliver.
Funky Clean
A really bright clean which still maintains mid definition. This is best used in conjunction with a singlecoil neck pick-up or the neck/bridge combination on a humbucker equipped guitar. Keeping the Gain
control low ensures a clean preamp signal and also helps feed extra treble through to the power
amplifier for additional brightness and cut.
Blues Clean
Here the preamp Gain is increased and what you start to hear is pure, harmonically rich break-up and
compression from the internal Marshall ECC83 preamp valve. Again the neck pick-up on a single coil
guitar or the neck/ bridge combination on a humbucker-loaded guitar will deliver the warmest tones.
Jazz Clean
A warm rounded clean ideal for ‘comping’ and walking bass progressions.
Brit Crunch
Here the advantage of the separate Gain and Volume controls really comes into play. Notice how the
Gain is quite low but the Volume is quite high. This is the way the old Marshall crunch sounds of the
late 60’s and 70’s were created - namely by keeping the preamp pretty clean and creating the desired
distortion by driving the power stage hard. With such a setting, when you back off the guitar's volume
or pick lighter, you will feel and hear how the rich, clear tone of the clean sound remains.
Funky Overdrive
For those who wish to get lost in a purple haze, back off OD1's Gain to give extra definition and
dynamics.
MV Crunch
This crunch is reminiscent of the first Marshall Master Volume amplifiers of the much heralded
JCM800 series. The Valve Drive Preamp is driven into mild saturation, creating a big, open overdrive
using the bridge position pick-up, whether single-coil or humbucker.
Screaming Lead
Here the Gain is cranked to the max and the mids are brought up to fatten the tone of the single
notes. With these settings the rich, natural harmonic overtones that the valve introduces will be very
apparent. Best with the bridge pickup.
Heavy, Modern Crunch
Cutting the Mids while heavily boosting the Gain, Treble and Bass gives an aggressive, modern ‘tearyer-face-off’, scooped sound. The bridge humbucker is the one to use here if you truly wanna ride the
lightning...definitely not for the faint-hearted!
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Follow all instructions and heed all warnings
KEEP THESE INSTRUCTIONS !
8 9
AVT100X Suggested Settings AVT100X Suggested Settings
1
2
3
4
5
6
7
8
9
1
0
11
12
13
14
1
5
16
1
2
3
4
5
6
7
8
9
10
11
12
1
3
1
4
15
16
1
2
3
4
5
6
7
8
9
10
11
1
2
1
3
1
4
15
1
6
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Select
Funky Clean
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Select Select
Blues Clean
Select Select
Funky OverdriveMV CrunchScreaming LeadHeavy Modern Crunch
Select
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Select
Select
Select Select
Jazz CleanBritish Crunch
Select Select
1110
1
2
3
4
5
6
7
8
9
1
0
1
1
12
13
1
4
1
5
16
AVT100X Combo Front Panel Features
7 8 10 12 14 15 16 18 19 20 21 23229 11 13
1 2 43 5 6 17
AVT100X Combo Rear Panel Features
1 2 3 4 6 85 7
AVT100X
100W RMS / 8 Ω
Power Output 100W RMS into 8Ω
Potencia de salida
Ausgangsleistung 100W RMS an 8Ω
Puissance de sortie
Main Guitar • Input Impedance 1MΩ
Impedancia de entrada principal de guitarra
Guitar Input • Eingangsimpedanz
Impédance d'entrée
Emulated Output • Level -10dBV * see note 1
Nivel de salida de línea simulada -10dBV * ver nota 1
Emulated Output • Ausgangspegel -10dBV * siehe Hinweis 1
Niveau de sortie -10dBV voir note 1
FX Send • Level Switchable -10dBV, +4dBV * see note 2
Envío de efectos • Nivel Commutable -10dBV, +4dBu * ver nota 2
FX Send • Ausgangspegel (schaltbar) -10dBV, +4dBV * siehe Hinweis 2
Niveau de sortie d'effet • Commutable -10dBV, +4dBV * voir note 2
Weight 23.2kg
Peso 23.2kg
Gewicht 23.2kg
Poids 23.2kg
Size (mm) 607 x 550 x 290
Tamaño (mm) 607 x 550 x 290
Maße (mm) 607 x 550 x 290
Taille (mm) 607 x 550 x 290
Internal Speaker • Custom Celestion 100W/12" 8Ω
Altavoz interno • Celestion custom 100W/12" 8Ω
Interner • Custom Celestion Lautsprecher 100W/12" 8Ω
Haut-parleur interne (custom Celestion) 100W/12" 8Ω
Valve 1 x ECC83 (Dual Triode)
Válvula 1 x ECC83 (Triodo doble)
Röhre 1 x ECC83 (Dual Triode)
Lampe 1 x ECC83 (double triode)
100W RMS sobre 8Ω
100W RMS sous 8 ohms
1MΩ
1MΩ
1MΩ
1MΩ
23.2kg
607 x 550 x 290
100W/12" 8Ω
* Note 1: Recommended for connection to
inputs with input impedance >20KΩ
* Nota 1: Se recomienda conectar a entradas
con impedancia superior a 20KΩ
* Hinweis 1: Empfohlen für Inputs mit eine
Eingangsimpedanz >20K
Ω
* Note 1: Recommandée pour une
impédance d'entrée supérieure à 20KΩ
* Note 2: Recommended for use with line level
equipment (i.e. rack processors etc.)
* Nota 2: Se recomienda utilizar con equipo
con nivel nominal de línea ( como procesadores de
rack, etc...)
* Hinweis 2: Empfohlen für die Benutzung mit
Equipment auf Linepegel (z.B.Studioeffektgeräte etc.)
* Note 2: Recommandée pour des niveaux de
ligne de type processeur d'effets en rack.
1
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