BBE Sound bmaxt 用户手册
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Precautions ……………………………………………………………………………………………………………………i
Table of Contents/ Product Description …………………………………………………………………………………1
Features ………………………………………………………………………………………………………………………2
Controls/Connections……………………………………………………………………………………………………3-5
Specifications…………………………………………………………………………………………………………………6
General Operation/Applications ………………………………………………………………………………………6-8
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Warranty Information………………………………………………………………………………………………………9
Congratulations on your purchase of the BBE BMAX-T Bass Guitar Pre-amp!
The BBE BMAX-T is an extremely versatile pre-amp which is capable of achieving a wide array
of tones while conveniently configuring itself into any application. No extra devices are needed
to get flawless performance out of the BBE BMAX-T.
of tones while conveniently configuring itself into any application. No extra devices are needed
to get flawless performance out of the BBE BMAX-T.
The BMAX-T is a high quality tube bass pre a m p / p rocessor with applications both in the re c o rd-
ing studio and on the road in demanding live applications.
ing studio and on the road in demanding live applications.
At the heart of the BMAX-T is our class A, DC regulated tube preamp section, the design of
which follows on in the tradition of the classic tube preamp designs of the 50’s and 60’s. It fea-
t u res a high voltage (300V) tube front end, providing all of the pre-amp gain and passive inter-
active tone control.
which follows on in the tradition of the classic tube preamp designs of the 50’s and 60’s. It fea-
t u res a high voltage (300V) tube front end, providing all of the pre-amp gain and passive inter-
active tone control.
The BBE Process—"What it Is"
Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficul-
ties cause such major phase and amplitude distortion that the sound reproduced by speaker differs sig-
nificantly from the sound produced by the original source.
ties cause such major phase and amplitude distortion that the sound reproduced by speaker differs sig-
nificantly from the sound produced by the original source.
In the past, these problems proved unsolvable and were thus delegated to a position of secondary impor-
tance in audio system design. However, phase and amplitude integrity is essential to accurate sound
reproduction. Research shows that the information which the listener translates into the recognizable
characteristics of a live performance are intimately tied into complex time and amplitude relationships
between the fundamental and harmonic components of a given musical note or sound. These relation-
ships define a sound's “sound”.
tance in audio system design. However, phase and amplitude integrity is essential to accurate sound
reproduction. Research shows that the information which the listener translates into the recognizable
characteristics of a live performance are intimately tied into complex time and amplitude relationships
between the fundamental and harmonic components of a given musical note or sound. These relation-
ships define a sound's “sound”.
When these complex relationships pass through a speaker, the proper order is lost. The higher frequen-
cies are delayed. A lower frequency may reach the listener's ear first or perhaps simultaneously with that
of a higher frequency. In some cases, the fundamental components may be so time-shifted that they
reach the listener's ear ahead of some or all of the harmonic components.
cies are delayed. A lower frequency may reach the listener's ear first or perhaps simultaneously with that
of a higher frequency. In some cases, the fundamental components may be so time-shifted that they
reach the listener's ear ahead of some or all of the harmonic components.
This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is
technically called “envelope distortion.” The listener perceives this loss of sound integrity in the repro-
duced sound as “muddy” and “smeared.” In the extreme, it can become difficult to tell the difference
between musical instruments, for example, an oboe and a clarinet.
technically called “envelope distortion.” The listener perceives this loss of sound integrity in the repro-
duced sound as “muddy” and “smeared.” In the extreme, it can become difficult to tell the difference
between musical instruments, for example, an oboe and a clarinet.
BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. Wi t h
this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the cor-
rections necessary to return the fundamental and harmonic frequency structures to their correct order.
While there are differences among various speaker designs in the magnitude of their correction, the
overall pattern of correction needed is remarkably consistent.
this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the cor-
rections necessary to return the fundamental and harmonic frequency structures to their correct order.
While there are differences among various speaker designs in the magnitude of their correction, the
overall pattern of correction needed is remarkably consistent.
The BBE Process is so unique that 42 patents have been awarded by the U.S. Patent Office.
TABLE OF CONTENTS