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PAGE 15
REAR PANEL CONTROLS & CONNECTIONS: (Continued)
RECORDING OUT :
This 1/4” jack captures the sound of your Nomads’ pre-amp and shapes the sound, enabling direct insertion into
a console for both recording and live reinforcement applications. It produces a mono signal and can send a level that should be adequate,
if not optimum, for most mixing consoles. The level of each Channel is dependant on the Channels’
MASTER Control. Less saturated sounds will produce greater dynamics and therefor a stronger sig-
nal at this Output with Channel 1 “Normal” producing the potentially hottest level. It is always good
practice to start with the consoles’ Input attenuator off and bring the level up slowly - to avoid damage
to playback monitors in case you have inadvertantly dialed up an extreme signal level.
Brightness and upper harmonics may be adjusted by the PRESENCE Control to balance the three
sounds and is especially important to great solo sounds in Channels 2 & 3.
Also, remember to use the BASS Control with care when using the Recording Output to interface to a
console. Extreme settings can potentially cause damage to your playback monitors.
SPKR ON / SPKR MUTE:
This two position mini-toggle mutes the signal at the driver stage to allow direct recording late at night or
any time the sound of the speaker(s) is not apropriate. SPKR ON (up) allows the power section to receive signal and produce sound.
SPKR MUTE ( down ) stops the signal at the driver stage - sending it to the RECORDING
Output only.
NOTE: For personal monitoring of your Nomad without any sound from the speaker the
Recording Output may also be used to drive a pair of heaphones. Extreme caution should
be used to avoid damaging your ears or the headphones since the level is optimized for
consoles ...making it a bit hot for the headphone application. Start with the Channel
MASTER Controls off and slowly increase to the desired level.
BIAS SELECT - Nomad 55 & 100 Models:
Nomad 55 and 100 models incorporate a Bias select switch to enable you to use the
stock compliment of 6L6 power pentodes or switch safely to one ( or two ) pair of EL34 type tubes. Switching from the stock 6L6 harness
will revoice the entire amplifier with a distinct emphasis on upper harmonics and a top
end spread that may be preferred for certain styles. The 6L6‘s provide the most bal-
anced response across the wide spectrum of sounds possible in the three channels,
but some amazing and different sounds are possible with the EL34’s and at some
point we suggest experimenting with these tubes...especially in the studio! The multi-
track domain puts less emphasis on channel switching versatility and more on spe-
cific, identifiable sounds so that any global compromise is not a problem. The EL34’s
tend to work best in all three channels when they are used in conjuntion with lower
GAIN and higher MASTER or OUTPUT Control settings...turning up the power amp
showcases their classic response best . Channel 1 in both modes is our favorite atti-
tude adjustment, with low GAIN Control settings in Channels 2 & 3 following close
behind due to slightly decreased focus - as compared with the 6L6’s.
NOTE: The BIAS SELECT MUST BE SET TO MATCH THE TUBES IN USE ! Failure to check this switch could result
in damage to your amplifier. ALWAYS CHECK THE BIAS SELECT WHEN SWAPPING TUBE TYPES !
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3
FTSW
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3
FTSW
SPKR ON
SPKR MUTE
6L6 BIAS EL34
CAUTION !
SWITCH MUST MATCH TUBES
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
SPKR ON
SPKR MUTE