Anyone have any idea why this was done like this. I was blowing out the chassis and noticed 2 wires not connected, but also noticed a jumper wire in there also. This is on the high and low input jacks.
So basically if I wanted it to be back to the way the jacks were designed to function all I would have to do is solder the blue wire back to the low side, take out the jumper wire and solder the cap back to the low side as well?????
I guess what they wanted was both jacks to be low. I have heard that the high input was rather thin sounding on these 100's. This is my first 100-2.
Yes, just put it back to normal by removing the jumper and reconnecting the blue wire and the cap.
I've heard people complain about the too bright sound of the K100-2. The input jacks are wired the same as the all of the K200 heads except for the PA heads. I don't know many people that need to use both inputs at the same time, where you would want both inputs to be normal.
stevem Messages: 4736 Registered: June 2004 Location: NY
Senior Member
That cap really does not make for a brite input , as all that cap does is remove some low end.
I would guess that it was done that way so the guitars signal could be taped off either Jack to feed something else without stripping the bottom end away!
Only the k200b non PA heads have a true brite boost circuit that adds top end
Yes, it does not actually boost the treble or brightness of the signal, I never said that it did. The reduction of the low frequencies will make the sound thinner or brighter because the ratio of highs and lows will be shifted, thus the "HIGH" and "LOW" input designations.
Placing a cap in series with the input signal is basically a first order low cut filter circuit. The value of the cap will limit the low frequency roll off point. The smaller the value the greater the roll off (less bass). This is what Rickenbacker used in the treble circuit of their guitars for years to get that jangle.
I never liked the wording "HIGH" and "LOW" as it is too confusing. A lot of amps including the later metalfront amps had inputs that were high and low, referring to gain and not tonality.