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both directions and move around a bit with the frequency controller in the spectrum. This
will give the amp a completely different character...
The actual sound control (the "tone stack") functions rather conventionally: VANDAL offers
low, mid & high settings. Everything functions like the passive sound regulation network in
genuine amps so that the controllers influence each other to produce numerous variations.
Depending on the preamp mode, the activation frequencies are slightly different.
On-board spring reverb
Surf and twang simply needs on-board spring reverb. We've drawn on the modeling of
famous reverb spirals. Everything sounds natural with complete authenticity.
Bass amp
During development of the VANDAL bass amp, it was our main goal to create a recipe
consisting of the best amp designs in a single amp with an all-tube design that would be
simple and easy to use. The core features of the bass amp are:
• Multi-stage tube preamp (with extra distortion stage)
• Contour control for extra-fat bass and glittering highs
• Controllable optical-electrical compressor
• Passive 4-band sound regulation network
• Class A/B tube end stage
After roughly setting the Gain controller, the bass signal will first be treated with the
Contour circuit. This filtering stage works similarly to the "Loudness" function by cutting
the (lower) mids and lifting the deep bass and highs. It's sort of like "instant slap")
Next, the signal passes through the compressor stage. This involves a simple but
extremely musical, optical design: The bass triggers a light source that is coupled with the
photo resistance, and this dampens the signal. Does this sound familiar? The most famous
studio compressor for bassists, the Urei LA2A, functions according to the same principle.
After any possible compression, Drive provides the option to take the bass sound to the
next level. Saturating the signal takes place depending on the frequency: In spite of a level
of distortion, the basses remain relatively clean and contoured.
The equalization stage offers 4 frequency ranges, whereby the two mid bands are variable.
In this case, we decided on a soft filtering via a passive network to avoid counterfeiting the
essential character of the instrument in spite of the four bands.