Becos TS8-JZ Руководство - Страница 2

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the proportion of highs in the dry signal may help preserve the sonic

character of the amplifier), or in blistering high gain (where a

proportion of clean dry highs subtly mixed with overdriven wet mids

can improve the clarity of your playing).

DRY EQ – This control adds more value to the DRY/WET mixer,

allowing more coloring to the clean signal which is supposed to be

blended with the wet overdriven sound. It acts like a tilting equalizer

with a center pivot at 750 Hz. Turned to the left, it dumps the lows

by as low as ‐6dB while concomitantly bumping highs with up to

+6dB. And vice versa. Left in the middle, it leaves the clean signal

unchanged. When the MIX knob is trimmed right to the max, the

pedal may be used as a frequency booster. Use the DRY EQ to make

either minor or bold corrections to your push, and use the pedal's

LEVEL to set the output as loud as needed. However, this is not the

only way the DRY EQ can be used.

This control adds more versatility when the pedal is used with

different instruments, such as bass, or over‐bright single coil guitars,

or dark‐sounding humbucker guitars. There you can recover some of

the lows lost in the overdrive engine, or add sparking highs if

needed. Be creative. Start by blending half DRY and half WET with

the knob centered at noon, the slightly tilt the EQ one way or the

other, to better hear its response. Fine‐tune it afterward to

appropriately balance the mix of clean and overdriven signals.

CLIP SWITCH – This control is part of the gain stage and is

responsible for carving the gain structure which gives the pedal its

particular voicing. The clipping switch has three positions. In the

upper position, the CLASSIC clipping is set with silicon diodes. This

mostly resembles the original 808 tones, and can only be described

as creamy saturated overdrive. In the middle position, a variation is

introduced, setting the clipping to ASYMMETRIC. The tone becomes

airier, less saturated. The overall level rises a bit and, if the GAIN is

dialed in more clockwise, the tone soon resembles a naughty drive. It

cuts better in the mix and becomes more aggressive. Use this along

with the DRY/WET MIX and the DRY EQ for more tonal variation.

Finally, in the lower position of the switch, the clipping is set

to CUSTOM – using our choice of Red LEDs. A noticeable rise in

volume takes place. With the GAIN to the minimum, the output is

almost clean, breaking up only on higher strokes. Again, the MIX and

DRY EQ controls may be very helpful to voice your particular tone.

The more GAIN is dialed in, the more mean and aggressive the sound

gets.

You could use the Ziffer as your solo tone machine as Jordan Ziff

does, but, if you want to go further, you may use two stacked Ziffers

‐ one set for a creamy overdrive in CLASSIC clipping mode, while

engaging the second one set for CUSTOM clipping only during your

solo passages. You may need to rebalance the output level a little,

and sometimes trim down the TONE if the voicing is too aggressive.

This clipping mode is better suited for boosting raw‐sounding amps

or even for lead tones. But really, there are no rules. Experiment

with your setup and be prepared to discover even more tones and

drives.

DEEP SWITCH – The deep switch has two options. In the upper

position, it sets the CLASSIC tone and the feel you would expect from

an overdrive. When set in the DEEP lower position, the frequency

response of the gain engine is changed, introducing lower end

frequencies without muddying the sound. This mode may be used as

an enhancer at all times, but it is particularly useful for bass

instruments and thin‐sounding single coils.

INPUT – Here you will connect either an instrument directly, or the

output of another effect, or a signal taken from the amplifier's SEND

FX‐loop.

OUTPUT – From here you will send the signal to the next effect

pedal, or an amplifier's input, or the RETURN FX‐loop of an amplifier.

The output signal can also be recorded directly into a Hi‐Z interface

input. When not engaged (or powered), the pedal is in True Bypass.

DC POWER CONNECTOR – The pedal is powered as soon as the

Power Plug is inserted into the DC Power Connector. It remains

powered even when the footswitch is in the bypass position. Use

only good filtered and regulated power supplies, with a voltage of

9‐18 VDC, with center negative polarity. Use a DC Power Plug Ø 5.1 /

2.1 mm, with a 12mm long barrel because the power connector is

recessed inside the enclosure (which also has tapered sidewalls,

keeping the plug a little out).

TS8‐JZ THE ZIFFER – JORDAN ZIFF SIGNATURE

MINI OVERDRIVE PEDAL

MANUAL

Last modified: April 10, 2021

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