Hughes & Kettner BassBase 600 User manual

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Contents
INTRODUCTION
BEFORE OPERATING...
1.0 CONNECTIONS AND CONTROL FEATURES
2.0 STANDARD SETUP / CABLE CONNECTIONS
3.0 SELECTING EQ SETTINGS/MIDI
4.0 OPERATING THE BASSBASE 600
4.1 THE INPUT AND VOICING SECTIONS..
4.2 THE VARIMETRIC EQs.
4.3 THE NOTCH FILTER
4.4 THE BASSBASE 600 AND FX PROCESSORS
4.5 THE BASSBASE 600 AND MIDI
4.6 THE ACTIVE CROSSOVER
5.0 SERVICE AND PREVENTIVE MAINTENANCE
6.0 TROUBLESHOOTING
Congratulations and thank you for purchasing the HUGHES & KETTNER BassBase 600!
The BassBase 600 represents our goal of designing the ultimate bass amp, featuring the cutting edge of
contemporary amplification technology. In respect to performance, sound quality, flexibility and workmanship,
we made our dream of the perfect bass amp a reality (and hopefully yours too).
In addition to all the tried-and-true features of classic bass amps, the BassBase 600 offers many innovative
details that will help you translate your ideas about sound into music.
In spite of its wealth of features, the BassBase 600 is designed to be straightforward to understand and easy
to operate. This manual will help you exploit the many options your new amp offers.
We wish you much enjoyment and success with your BassBase 600!
BEFORE OPERATING....
Check the voltage rating displayed next to the amp's AC socket. Make sure it matches your local AC current
before you plug the amp’s power cord into an AC outlet.
Place the amp on a sturdy, secure base (no, a stack of empty beer crates won't do). If you install the amp in a
rack, make sure the amp is supported from the rear, or is mounted at the bottom rack space.
HUGHES & KETTNER is not liable for damage to the amp due to incorrect installation in racks.

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For safety purposes, the BassBase 600's power amp is exclusively equipped with Speakon jacks and female
XLR jacks. (In some cases, you may need to employ an adapter cable.)
NOTE: Under no circumstances should you use 1/4" plugs for connecting speaker cabinets to the BassBase
600; they are not designed to handle the amount of power this amp puts out.
3.0 SELECTING EQ SETTINGS/MIDI
You can activate the BassBase 600's two VARIMETRIC EQs and the FX LOOP in any one of three different
ways: via the front panel controls, the STAGEBOARD, or MIDI (once the MSM 1 MIDI Module has been
installed).
From the front panel, press the EQ ON button to enhance the basic EQ section (BASS and TREBLE), which
is always on, with the VARIMETRIC EQ. Now you can use the EQ A/B button to switch back and forth
between VARIMETRIC A and VARIMETRIC B.
From the Stageboard, use the same procedure to select a setting. The LEDs illuminate to indicate the current
switching status.

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NOTE: To use either the Stageboard or MIDI to operate the BassBase, please ensure that all switches
on the front panel of the unit itself are OUT (not depressed). Alternatively, to operate the BassBase
using either the front panel switches or MIDI, ensure the Stageboard is either unplugged or completely
switched off (that is, no Stageboard LEDs are on).
Once the MSM 1 MIDI Module has been installed, you can switch EQ sections and activate the FX loop via
MIDI commands. Using MIDI to handle the simultaneous switching of the BassBase 600 and your FX
processor leaves you free to concentrate on your music.
Please refer to the MSM 1 Instruction Manual for detailed information on installation and MIDI operation.
4.0 OPERATING THE BASSBASE 600
4.1 THE INPUT SECTION AND BASIC EQ SECTION
The response of the BassBase 600 tube preamp stage depends in large part on your instrument, its pickups
and signal level, and your playing style. The -10 dB and GAIN controls simplify and significantly expedite your
search for the proper level. Although your ears are the ultimate authority, the PREAMP LEDs are also great
visual reference tools for this task.
To adjust the gain properly, turn your instrument's volume all the way up and ‘spank the plank’ hard by
slapping or really digging in with your pick. For the ideal setting, the RED CLIP LED will flash briefly on peaks
only. If the signal is too hot, press the -10 dB button to damp it.
NOTE: The RED CLIP LED illuminates to indicate distortion in the BassBase 600 preamp caused by a
saturated input or incorrect FX processor levels. It will not show distortion caused by your bass, such
as an active instrument's low batteries.
The yellow TUBE SATURATION LED indicates the amp’s tube stage is entering the mellow overdrive zone.
You will now begin to hear that utterly desirable tube growl and typical tube compression. For ultraclean
sounds, only the SIGNAL LED should illuminate. If you cannot achieve tube saturation even with the gain
wide open, deactivate the -10 dB button (not depressed).

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Use the BASS and TREBLE controls to dial in the basic tone. Note that the TREBLE control is situated before
the tube stage in the signal chain, yielding smoother harmonic overtones. If the CLIP LED illuminates when
you dial in higher TREBLE settings, simply adjust the GAIN control to a lower level.
4.2 THE VARIMETRIC EQs
Handle the VARIMETRIC EQ sections as you would a semi-parametric EQ. The difference lies in the
VARIMETRIC EQ's auto-variable bandwidth and slope, which enables you to achieve substantially more
musical results. The easiest way to use it (and the best way to acquaint yourself with how it works) is to do
the following:
- Turn the LEVEL control all the way up so you can really hear the results when you tune a frequency range
in the lower midrange.
- Dial in the desired low-mids center frequency via the FREQ HZ control. (You will hear a wah-wah effect
when turning this knob. If you stop rotating the pot at any point you will hear that particular frequency
especially pronounced. You may find a given frequency particularly annoying, but not to worry, help is near:
simply attenuate the culprit.
- You can now use the LEVEL control to amplify/attenuate selected frequencies as desired.
- Use the same procedure to tune the upper-mid frequencies via the FREQ KHZ and LEVEL controls (LEVEL
to maximum, tune FREQ KHZ, then adjust LEVEL to amplify/attenuate the chosen frequencies).
- Hit the EQ ON button if you need to compare your EQed tone to the basic tone.
- If you leave the LEVEL control in the 12 o'clock position for a given frequency, that frequency will not be
affected.
With a bit of practice, you can also tune an attenuated frequency range (rather than artificially
overemphasizing it first like we just did), but keep in mind that for the human ear, attenuated frequencies are
generally more difficult to discern.
Why call it "VARIMETRIC" rather than "PARAMETRIC?"

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Even though you handle the VARIMETRIC the same way you would a conventional semi-parametric EQ with
its fixed filtering, it is a much more sophisticated sound-shaping tool. The filters, rather than being geared to a
fixed frequency range, are variable, enabling you to fine-tune your tone for a truly musical result.
This frequency diagram depicts the effects of the VARIMETRIC EQ on the lower-midrange. As clearly
illustrated, the boost of a complete octave range is very well-rounded and even, ideal for clearly establishing
the basic sound character. Attenuation occurs at a much narrower bandwidth to allow you to accurately target
undesirable frequencies. If you amplify a given frequency range, the frequencies bordering its outer
parameters are smooth out with a touch of attenuation, and if you attenuate a given frequency range, the
frequencies bordering its outer parameters are gently amplified, achieving an audio contour which intensifies
the overall EQ effect.
Mid/Treble equalization: The higher the frequency, the broader the bandwidth processed by the VARIMETRIC
EQ, much in the way the human ear registers the upper end. Attenuation occurs at a much narrower
bandwidth so you can accurately target undesirable frequencies and avoid the dreaded broad-band hollow
midrange effect.
4.3 THE NOTCH FILTER
Undesirable frequencies such as those caused by resonating objects in the room or floor boards in the stage
can be suppressed via the NOTCH FILTER. The NOTCH FILTER operates in extremely narrow bandwidths
to avoid altering the overall sound. Adjust the NOTCH FILTER as follows:

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- Turn the NOTCH FILTER LEVEL control all the way up so you can clearly hear the attenuated frequency.
- Turn the FREQUENCY knob until you locate the frequency responsible for the sympathetic vibrations; the
NOTCH FILTER will suppress it.
- Now turn the LEVEL control to just below the point where the resonance sets in, thus ensuring that the filter
has a minimal effect on the overall sound.
It does take a bit of practice to get the hang of the NOTCH FILTER, as the human ear cannot readily identify
attenuated narrow bandwidths.
4.4 THE BASSBASE 600 AND FX PROCESSORS
The BassBase 600 is equipped with a parallel FX loop. The processed signal is mixed with the original signal
(i.e. the BassBase preamp signal) so that the original signal is still audible during the brief interruptions
caused by multieffects processor switching. The FX-MIX knob controls the dry/wet mix.
NOTE: As a rule of thumb, the best method for using signal processors is to set the device so that its output
is all effect, then to mix the original signal with the processed signal via the FX-MIX control. This will avoid the
tone degradation often caused by effects devices.
- Activate the FX loop via the FX SELECTOR SWITCH.
- Adjust the FX loop's level to your FX processor's input level. Press the -10 dB button for effects devices that
are designed for instrument levels. If the button is not pushed in, the signal remains at standard line level for
19" rackmounted processors.
- Adjust the blend between the original and processed signal via the FX MIX pot located on the front panel.
Towards DRY = more original signal, towards WET = more processed signal.
NOTE: Some signal processors cause phase cancellations that are detrimental to the overall sound
(washed-out tone, lower output level at the 12 o'clock position). In this case, turn the BassBase FX
control all the way to the right (WET). The effects loop then operates as a conventional serial loop, i.e.
the volume relationship between the original and the processed signal must be adjusted at the
processor.

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TIP 1: If you choose not to connect a signal processor/effects device to the FX loop, you can connect another
instrument or tape deck. For instance you could connect a guitar, keyboard, drum machine, tape player, etc.
for rehearsals or practice sessions.
Connect the additional device as described above and use the FX-MIX knob as the volume balance control
between your bass and the external signal source.
TIP 2: Another option is open to you if you do not connect a signal processor: You can use the loop to
activate an additional MASTER volume for the BassBase. To use the FX-Mix control this way:
- Activate the FX LOOP.
- Dial in a separate MASTER VOLUME setting via the FX MIX pot (to the left towards DRY = volume down,
to the right towards WET = volume up).
- You can switch back and forth between the two MASTER VOLUMES via the FX footswitch. Once the
BassBase has been equipped with the MSM 1 MIDI Module, you can also activate the second MASTER
VOLUME via MIDI messages.
4.5 THE BASSBASE 600 AND MIDI
Once the MSM 1 MIDI Module has been installed, you can execute many of the switching operations of your
BassBase via MIDI. Simultaneous switching of both the BassBase 600 and the multi-effects processor offers
optimum operational simplicity.
Consult the MSM 1's instructions for detailed information on the installation procedure.
BassBase 600 MIDI operations are also described in the MSM 1 Module's operators manual.
4.6 THE ACTIVE CROSSOVER

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The BassBase 600 is equipped with an active crossover. This enables you to biamp your system. The output
signal is separated into two frequency ranges and sent to two different power amps and then on to the
speaker cabinets. Always use the BassBase 600's integrated power amp for bottom-end amplification.
The biamping capability provides enhance flexibility, additional speaker cabinet options and even higher
stage volumes. A popular option is to send only the upper frequencies through an FX processor, thus
retaining a clean, punchy bottom end.
To operate your system in the biamping mode, proceed as follows:
- Set up your system as illustrated in the following diagram.
- Activate the HI CUT, provided you want your bass bin to reproduce the bottom end only; in other words, you
do not want the cabinet to operate in full-range mode.
- Use the X-OVER CONTROL to adjust the separating frequency by ear. There is no ideal setting, it depends
on a number of factors such as power amp ratings, speaker response and personal taste. If you are using a
power amp with a relatively low rating, set the separating frequency to somewhere in the upper range so that
your system delivers a balanced midrange response.
If you chose to send the hi-range signal through an FX processor, a rule of thumb is to set a lower separating
frequency. Cable connections are as follows: