ART BCC Bass Command Center User's Guide

Introduction

Thank you for purchasing the ART BCC (Bass Command Center). You now own one of the most sophisticated audio signal-processing technologies available. The BCC offers a level of processing resolution and sound quality comparable to rack-mountable units costing significantly more. It utilizes specially designed integrated circuits and a straightforward user interface, providing quick and easy access to all its features. Furthermore, the BCC puts this impressive processing power at your feet. Programs can be recalled via footswitch pads, an external-control jack allows manipulation of volume, wah, and other functions with an optional footpedal, and program changes can be made to remote gear via MIDI.

Features

• 8 Distortion types
• Compressor
• 5-band EQ
• Flanger
• Chorus
• Panner/Tremolo
• Pitch Shifter
• Digital Delay
• Digital Reverb
• Sub Bass & Presence boost/cut
• 50 presets
• Stereo outputs
• Easy programming
• MIDI Out for controlling external gear
• Programmable external control pedal jack
• Programmable Effects Loop
• Externally controllable built-in wah-wah and volume
• Headphone output
• Designed and manufactured in the United States of America

Overview of ART's BCC

ART's BCC offers 13 of the finest effects, including compression, distortion, EQ, flanging, chorusing, panning, tremolo, pitch shifting, delay, reverb, noise gate, wah-wah, and amp simulation. It operates in mono or stereo, accepting mono inputs and creating spacious stereo sounds. The BCC is incredibly simple to use, combining powerful processing with ease of use. It is strongly suggested that users read and refer to this manual while becoming familiar with the processor.

Special thanks are extended to Bernard "Bunny" Brunel for his guidance during the BCC's design. Brunel, a renowned bassist known for his work in rock and jazz, his instructional books, and his collaborations with artists like Chick Corea and Kazumi Watanabe, helped ART develop features and sounds that provide an immense range of tone-shaping capabilities for bassists.

For your reference:

• DATE OF PURCHASE: [User to fill in]
• PURCHASED FROM: [User to fill in]
• SERIAL NUMBER: [User to fill in]

Model Number: 105-5004-101

Quick Start Instructions

This section is designed for users eager to get their BCC up and running quickly. While it's recommended to read the full manual later, these basic steps will help you get your BCC online in just a few minutes. Refer to this section if you encounter any difficulties.

Quick Setup

1. Insert the supplied AC adapter's plug into the input labeled "Power" on the BCC's back panel. Loop the AC adapter's cable through the two strain-relief tabs on the back panel.
2. Turn the Output knob to its full counterclockwise position. Adjust this knob only after all other setup steps are completed.

Connecting Your BCC

• Straight into an amp: Connect your instrument to the BCC's Input. Run a second cord from the BCC's Left Out to the amp's input. If the amp has stereo input capabilities or if you are using two amps, connect another cord from the BCC's Right Out to the amp's second-channel input or the second amp's input.
• In an amp's effects loop: For a mono setup, connect a cord from the amp's effects send jack to the BCC's Input. Run a second cord from the BCC's Left Out to the amp's effects return jack. If the amp has stereo returns, use another cord to connect the BCC's Right Out to the amp's other effects return jack.
• With a mixer: Connect a cord with 1/4" plugs between your mixer's reverb send and the BCC's Input. Connect another cord between the BCC's Left Out and the mixer's reverb return jack. If the mixer has a second reverb return, connect a cord from the BCC's Right Out to that second return. The BCC can also be patched into a channel's insert loop following the same procedure.

Note: For detailed hook-up diagrams and information, refer to pages 33 through 39.

After connecting, plug the BCC's AC adapter into the wall socket. Then, turn on your mixer or amp and your monitor amplifier. Ensure your bass' volume control or your mixer's/amp's send level control is turned up and sending a signal to the BCC. Turn the BCC's Output knob clockwise to its midpoint (12 o'clock) or until sound is heard from your amp or monitors.

Setting The Input Level

To ensure optimal signal-to-noise ratio and the best performance from the effects, set the BCC's input level to match your instrument. This is important because instruments vary in output levels (e.g., active vs. passive pickups, single-coils vs. humbuckers).

Follow this procedure:

1. Push the Bypass footswitch. Setting the level with the BCC in Bypass mode optimizes its performance.
2. Push the footswitch labeled "Mode".
3. Push the switch labeled "Param".
4. Turn the Encoder knob until the LED along the top row of the indicator matrix labeled "MIDI/Util" glows, along with the "Param" LED (on the far left side of the indicator matrix) labeled with the number "1".
5. Push the "Value" button (the LED above it glows, and a number between 1 and 8 appears in the Numeric Display).
6. Starting at position "1", play reasonably hard on your instrument. Turn the Encoder knob clockwise until the "Clip" LED glows occasionally. If the Clip LED glows constantly, turn down the instrument's output level and/or lower the BCC's input level. The Clip LED should only glow when a very loud, instantaneous signal is received.
7. Once a good input level is set, press the "Mode" switch. The input level is automatically saved in the BCC's memory.

Note: The Input Level setting is global and affects the input at all times, regardless of the selected preset.

Now, turn up the BCC's Output level and raise the gain or return level on your amp or mixer. You should hear the BCC's effect. If not, check your connections and your amp or monitor system.

Select program banks using the "Down" and "Up" footswitches. Select Presets within banks by stepping on footswitches labeled "One" through "Five". You can also bypass the BCC's circuitry by stepping on the "Bypass" footswitch. For a complete list of factory presets, see page 42.

Experiment with your BCC to discover its full potential.

Installation

The BCC can be used in various setups: straight into a bass, PA, or amplifier; into a mixing console; or within the effects loop of an instrument or PA amplifier. Its all-steel enclosure is designed for continuous professional use and can withstand the rigors of road and stage.

Powering The BCC

The BCC is powered by an external AC adapter. Ensure its output jack is securely plugged into the BCC's rear panel and the adapter is firmly connected to an electrical outlet. After inserting the AC adapter's plug into the BCC's Power 9VAC jack, loop part of its cable through the strain-relief tabs (square cutouts with a "tongue") on the unit's rear, as illustrated.

Diagram Description: The illustration shows the AC adapter plug going into the "PWR 9VAC" jack. Another diagram shows the cable being looped through the "strain-relief tabs". A third illustration demonstrates how to create a loop in the wire by squeezing it and slipping it over the tongue of the cutout for secure strain relief.

Never operate the BCC or AC adapter in wet conditions. If the AC adapter's cord is damaged, discontinue use and replace it with a new one. To prolong its life, unplug the adapter when the BCC is not in use. Alternatively, if the BCC is rack-mounted, plug the adapter into a switched power strip for convenient power-off with other gear. Refer to the adapter's label for proper operating voltages.

BCC FRONT-PANEL CONTROLS & INDICATORS

The effects are arranged in vertical rows on the large matrix filling the left half of the BCC's front panel. Analog effects include Compressor, Distortion, and EQ. Modulation Effects (Flanger, Chorus, Panner/Tremolo, Pitch Shifter), Delay, and Reverb are digital. Other important effects include the Sub Bass and Presence EQ enhancers and Pedal functions. The arrangement is categorized as Effects, Miscellaneous Effects & Control Functions, and MIDI/Utility Functions.

Diagram Description: The front panel diagram shows a matrix of controls. It indicates that "Parameters are arranged vertically in this row" and "Effects and control, utility, and MIDI functions are arranged in vertical rows from left to right." The matrix displays sections for COMPRESS, DISTORT, EQ, MODULATION (FLANGER, CHORUS, PAN/TREM, PITCH), DIGITAL (DELAY, REVERB), MISC, and MIDI/UTIL. Within these sections, controls like DRIVE, TYPE, SPEED, WIDTH, REGEN, INTENSITY, LEVEL, TIME, DECAY, PITCH, FINE, GATE, SUB BASS, PRESENCE, PEDAL, LOOP, CHANNEL, INPUT, and OUTPUT are shown with their respective parameter ranges.

ANALOG EFFECTS SECTION

Compressor

Drive (1-12): Sets the intensity of the signal fed into the compressor's circuitry.

Ratio (1-4): Sets the amount of compression. The available ratios are:

A compressor squeezes dynamic range, making loud sounds quieter and quiet sounds louder, useful for bringing out harmonics or increasing sustain. High compression ratios can increase apparent noise, so start with lower ratios (1:1 is no compression). Experiment with Drive and Ratio settings for the best balance of compression and low noise. The Limit setting (4) is useful for controlling the dynamic range of extremely dynamic funk styles.

Output (1-32): The compressor's output level is adjustable from 1 to 32.

Note: For optimal dynamic range, set the Compressor's Output to match the level when the BCC is in Bypass mode.

Distortion

Type (1-8): The BCC offers nine different distortion types, ranging from classic to modern overdrive and distortion sounds. Type "1" bypasses the distortion section, allowing the input signal to pass straight through.

Drive (1-32): Determines how hard the incoming signal drives the distortion section. Low Drive settings and high Output settings may create noticeable noise; experiment for the best balance.

Output (1-32): The distortion's output level is adjustable from 1 to 32.

Note: For optimal dynamic range, set the Distortion's Output to match the level when the BCC is in Bypass mode.

EQ

This 5-band graphic equalizer allows fine-tuning of your sound. Each band is a Parameter, adjustable in 2dB increments from -12dB (cut) to +12dB (boost).

• 100 Hz (-12/+12)
• 250 Hz (-12/+12)
• 350 Hz (-12/+12)
• 500 Hz (-12/+12)
• 3 kHz (-12/+12)

A "0" setting for any band results in no boost or cut, meaning the input and output signals are identical in that frequency range.

MODULATED EFFECTS SECTION

This digital section includes Flanger, Chorus, Panner/Tremolo, and Pitch Transposer (indicated as FLA, cho, trE, Pit). Only one Modulated Effect can be used per Preset.

Flanger

Flanging creates an airy, swooshing sound. Four Flanger types are available:

• Type 1: Normal (Mono)
• Type 2: Inverted (Mono)
• Type 3: Normal, Stereo
• Type 4: Inverted, Stereo

The Normal (Type 1) and Inverted (Type 2) flanging sounds are for mono applications. Type 3 (Normal Stereo) and Type 4 (Inverted Stereo) require stereo output, spreading the signal and moving it from left to right. If only the Left Out (mono) is used, the effects from both channels combine and cancel each other.

Speed (1-16): Adjustable from 1 (slowest) to 16 (fastest).

Width (1-16): Adjustable from 1 (least effect) to 16 (heaviest effect).

Regen (1-16): Regeneration (feedback) is adjustable from 1 (minimum) to 16 (maximum).

Intensity (1-10): Sets how prominent the Flanger's effect is, from 1 (minimum) to 10 (maximum).

Note: High settings for Regen and Width can create undesirable feedback; use maximum settings with care.

Chorus

Chorusing thickens texture by splitting the input signal and detuning one part before recombining it with the other, simulating doubling or multiple instruments. Three Chorus types are available:

• Type 1: Normal (Mono)
• Type 2: Inverted (Stereo)
• Type 3: Analog (Classic)

The Type 1 Chorus is for mono applications. Type 2 inverts one signal 180 degrees out of phase with the other for a spacious stereo effect. Type 3 (Analog/Classic) mimics the lush sound of early analog choruses, with its stereo output reaching Left and Right Out 180 degrees out of phase for a wide stereo effect.

Note: If only the Left Out is used, outputs combine to mono, cancelling the effect.

Speed (1-16): Adjustable from 1 (slowest) to 16 (fastest).

Width (1-16): Adjustable from 1 (least effect) to 16 (heaviest effect).

Intensity (1-10): Sets how prominent the Chorus' effect is, from 1 (minimum) to 10 (maximum).

Panner/Tremolo

Types PAn and trE select Panner and Tremolo, effects that create movement in sound. The Panner spreads the signal between left and right outputs, while the Tremolo cyclically increases and decreases sound volume.

• Type: trE (Tremolo), PAn (Panner)
• Speed (1-16): Adjustable from 1 (slowest) to 16 (fastest).
• Width (1-16): Adjustable from 1 (least effect) to 16 (heaviest effect).

Note: If only the Left Out is used in Panner mode, the Left and Right signals combine and cancel each other.

Pitch Shifter

The Pitch Shifter raises or lowers pitch to create harmonies or detune a sound. Detuning by small increments can create a chorus-like effect.

• Type: on (This is the only type available; the display always shows "on".)
• Pitch (-12/+12): Selects any semitone interval from unison (0) to one octave up (+12) or one octave down (-12).
• Fine (-15/+15): Provides +/- 1 half-step fine tuning. There is a 0 value for no fine tuning, plus 15 up and 15 down values for detuning. Each increment is approximately 6 cents (6/100 of a semitone).
• Level (1-16): Sets the output level.

DIGITAL EFFECTS SECTION

Delay

There are three types of delays, each with its own personality:

• Type 1: Mono (A straight-ahead repeat of the input signal.)
• Type 2: Analog (Mono) (Mimics analog or tape echoes with limited frequency response and less treble in repeats.)
• Type 3: Ping Pong (Stereo) (Spreads each delay across the stereo spectrum, sending alternate echoes to the left and right outputs.)

Time (10ms-1000ms): Delay time is adjustable in increments:

Regen (1-16): Regeneration (feedback) is adjustable from 1 (minimum) to 16 (maximum).

Level (1-16): Sets the amount of delayed effect relative to the incoming signal (1 is minimum, 16 is maximum).

Stereo Operation Note: When both outputs are used, the signal from the last active digital effect is in stereo. Effects prior to the final digital effect are automatically mono. If Delay is the final digital effect and Ping Pong (Type 3) is selected, the Delay's outputs are summed to mono, creating a two-tap mono delay.

Reverb

There are two types of Reverb: Room and Hall.

• Type 1: Room (Simulates a large room like a ballroom or nightclub.)
• Type 2: Hall (Simulates an auditorium-sized building's interior.)

These reverbs produce a stereo image when both outputs are used.

Decay (0.2-4.0 sec): Sets the time for the reverb to die away, adjustable in 0.2-second increments.

EQ (1-8): Tailors the reverb's brightness (1 is brightest, 8 is darkest).

Level (1-16): Sets the amount of reverb effect relative to the incoming signal (1 is minimum, 16 is maximum).

OTHER EFFECTS

Misc (Miscellaneous)

• Gate (1-13): A signal or noise gate that opens when signals exceed the threshold level. It can be set individually for each Preset. The Gate Parameter sets this threshold (1 is lowest, 13 is highest). The Gate is useful for removing noise between notes or during silent passages, especially with distortion or single-coil pickups.
• Loop (out, in): Selects whether the effects loop is part of a Preset. Refer to page 37 for setup diagrams on connecting external effects.
• Sub Bass (-12/+12): Boosts or cuts frequencies around 40 Hz (the open low E string frequency) in 2dB increments from -12dB (full cut) to 0dB (no boost/cut) to +12dB (maximum boost). Experiment with this control; excessive bass boosting can overwhelm your amp or speakers.
• Presence (-12/+12): Boosts or cuts frequencies around 10 kHz in 2dB increments from -12dB (full cut) to 0dB (no boost/cut) to +12dB (maximum boost). Presence adds brightness to harmonics or removes string noise, squeaks, and hiss.
• Pedal (1, 2, 3): Sets the function of the Pedal input.
  • 1: Off
  • 2: Volume
  • 3: Wah-Wah
  Each Preset can be configured to use an external pedal for volume or wah-wah. In Volume mode, the pedal controls the full range from no signal to full signal. In Wah-Wah mode, it controls a wah-wah circuit duplicating classic wah-wah textures.

Note: The BCC prefers pedals with a 100k ohm audio (log-taper) potentiometer. It automatically adjusts its range to match pedals with different pot values.

NON-EFFECTS SECTION

MIDI/Utility

These functions (Input, Channel, Restore Preset) are global, affecting the BCC at all times, regardless of the current Preset.

• Input (1-8): Sets the input level to match your bass' output. Basses with weaker outputs should use a higher number (8 is maximum). Guitars with "hot" pickups or preamps may require lower input levels. Monitor the Clip LED to ensure it rarely flashes.
• Channel (OFF, 1-16): Sets the MIDI Channel for Program Change commands sent via MIDI Out. Ensure this matches the channel your other gear is set to receive. The default is "OFF". To select a channel:
  1. Press the Mode footswitch to enter Edit mode.
  2. Press the Param button and turn the Encoder until the MIDI/Util column and the Channel (1-16) Parameter are selected. The Numeric Display will show "oFF".
  3. Press the Value button and turn the Encoder to scroll through channels 1 through 16. If unsure, try MIDI Channel 1 first.
  4. Press the Mode switch to store the MIDI channel.
  Note: The MIDI Channel is global.
• Restore Preset: Restores a single preset to its factory setting or restores all presets to their original factory settings.

Restoring One Preset To Factory Settings

To restore a single preset:

1. Press the Mode footswitch to enter Edit mode.
2. Press the Param button and turn the Encoder until the MIDI/Util column is selected.
3. Continue turning the Encoder until "Restore Preset" is selected in the MIDI/Util column. The letter "F" will blink in the first digit of the display, showing the current Bank and Preset number.
4. To save this as the current preset, press Store. To recall a factory preset, press Value and turn the Encoder to select the desired factory preset. Press Store to save the recalled factory preset at the current Bank and Preset location.

Restoring All Presets To Factory Settings

To reset all user-created Presets and Parameters to factory settings:

Warning: This action is irreversible. All presets and parameters will revert to their factory settings.

1. Unplug the AC adapter from the wall socket (ensure all connected gear is turned off).
2. Plug the AC adapter back into the wall socket. When "Art" appears in the Numeric Display, press the Store, Param, and Value buttons simultaneously. The Numeric Display will then show a two-digit number, indicating the reset was successful.

Note: If you have created favorite presets, it is recommended to write down their parameters (e.g., by photocopying the "BCC Preset Form" on the next page) before performing a factory reset.

BCC Preset Form

A form is provided for users to record their custom preset settings, including Preset Name, Preset Number, Type of sound, and parameters for Compressor, Distortion, EQ, Delay, Reverb, Gate, Loop, Sub Bass, Presence, Pedal, Modulation Effects (Type, Speed, Width, Regen, Intensity), and Pitch Transposer (Pitch, Fine, Level).

CONTROL & DISPLAY SECTION

Store

After making changes to a preset using the Param and Value switches and Encoder, you can store the altered preset in its original location or any other location within the BCC's memory.

To store changes: Press the Store button. The program number will blink rapidly. Press Store again to save the changed program. The blinking stops, and the preset is stored. If a factory preset was overwritten, the first digit will change from "F" to "U".

To save in a different location: Press Store. While the numbers blink, press the Up or Down switch to select the desired Bank. Then, press one of the numerical footswitches (One through Five) to select the Preset location number. Press Store again to save the preset in the new location.

Note: Custom presets can be organized into Banks by song, set, etc.

LED Numeric Display

This display indicates whether a preset is factory created (letter "F") or user edited (letter "U"). The middle and rightmost digits show the Bank number (0-9) and Preset number (0-5). A decimal point separates the two numbers.

Param

Each Effect and option in the Misc. and MIDI/Util sections has editable parameters. These are selected using the Param switch and edited via the Value switch and Encoder knob. The Param switch is active only when the Mode switch has been pressed and the BCC is in Edit mode. Pressing the Param button illuminates its LED, indicating the function is active. Simultaneously, LEDs below "Compress" and to the right of "Param number 1" will glow.

Diagram Description: A diagram shows the front panel layout with LEDs indicating active parameters. It illustrates how the Param button activates specific LEDs associated with parameters for different effects.

Each time the Encoder knob is turned one click, the next Parameter is selected (e.g., 2, 3, 4, 5 or 5, 4, 3, 2). After cycling through Compressor parameters, the LED below "Distort" glows, along with Param number 1's LED, indicating the next effect (Distortion) is ready for parameter selection. Continuing to turn the Encoder cycles through parameters for Distortion, then EQ, etc., in a row-by-row pattern.

Note: The number of parameters per effect varies from 3 to 5. Once the maximum number of parameters for an effect is reached, the Param button advances to the next Effect. The Numeric Display shows the current Value of each Parameter as it is cycled through.

To move quickly through parameters:

1. Select the desired Parameter.
2. Press the Value button.
3. Pressing Value repeatedly cycles up through Parameters. Pressing Param repeatedly cycles down. The Encoder knob can also be used to move through Parameters or Values quickly.

SPECIAL NOTE ON PROGRAMMING THE MODULATION SECTION

When cycling through Effects and Parameters, LEDs glow continuously, except for the Modulation Effects section (Flanger, Chorus, Pan/Trem, Pitch Transposer). In this section, all four Effect LEDs glow together, while the currently active Modulation Effect blinks. For example, if Flanger is selected, the LED below "Flanger" blinks, and the Numeric Display shows "FLA".

To select a different Modulation Effect, press the Value button and turn the Encoder knob until the LED below the desired Effect name blinks. The 3-letter name in the Numeric Display will change accordingly (Fla, cho, trE, Pit).

Once a new Modulation Effect is selected, press Param once and turn the Encoder one click to reach Parameter number 1 for that effect. Note that only the LED corresponding to the selected Modulation Effect glows continuously instead of blinking.

Diagram Description: A table shows the Modulation Effects (FLANGER, CHORUS, PAN/TREM, PITCH) and their parameters: TYPE, SPEED, WIDTH, REGEN, INTENSITY, LEVEL, PITCH, FINE.

Value

Once a Parameter is selected, press the Value button. Its LED glows, indicating it is "live." Each Parameter has its own Value range, shown on the front panel (except for "Type," which offers choices of effects).

To change the Value, turn the Encoder knob clockwise or counterclockwise to increase or decrease the selected Parameter's value.

Note: After changing a Value, you can press Param to cycle to another Parameter (stepping backward by pressing Param repeatedly or turning the Encoder). Press Value again to edit the newly selected Parameter. Pressing Value repeatedly cycles up through Parameters.

Diagram Description: A diagram shows the front panel controls: STORE, F 9.5 (display), PARAM, VALUE, CLIP, ENCODER, OUTPUT. It illustrates the relationship between these controls.

Clip LED

The Clip LED indicates if the signal is too strong for the digital processing section, resulting in undesirable distortion (clipping). For maximum dynamic range and minimum distortion, the Clip LED should rarely flash. If it flashes often or continuously, turn down the instrument's output level or adjust the BCC's Input level as described on page 6.

Encoder

The Encoder knob works with the Param, Value, and Store switches to quickly scroll through Parameters, Values, and Preset locations. Refer to sections on Param (page 23), Value (page 26), and Store (page 22) for detailed operation.

Output

The Output control governs the signal level leaving the BCC through the Left Out and Right Out jacks. Experimentation is recommended to find the optimum level based on connected equipment and its input needs. Consult your other equipment's manual for hints on setting appropriate input levels.

The BCC's Output knob setting is global, affecting the output level regardless of the active Preset.

Diagram Description: A diagram shows the ENCODER and OUTPUT knobs on the front panel.

Footswitches

The BCC features nine large, rubber footswitches, spaced for easy operation without accidental activation of adjacent switches. They are clickless, producing no audible noise, which is ideal for studio and stage settings with live microphones.

Many footswitches have dual functions. In Play mode, switches One through Five recall presets 0 through 5 within a bank. In Edit mode, they can be used to add/subtract effects or turn individual effects on/off.

Bypass

Stepping on the Bypass switch activates its LED, indicating the input signal is passing directly to the BCC's output without processing. This switch is noiseless.

Buttons and Modes

Down Button

In Play mode, the Down button selects the next lowest Bank each time it's pressed. The corresponding Bank number (0-9) appears in the display's middle digit. In Edit mode, pressing Down selects the next lowest Preset in the current Bank.

Up Button

In Play mode, the Up button selects the next highest Bank each time it's pressed. The corresponding Bank number (0-9) appears in the display's middle digit. In Edit mode, pressing Up selects the next highest Preset in the current Bank.

Numbered Footswitches

These switches have a dual function. In Play mode, they recall Presets (1-5). In Edit mode, they function as on/off switches for specific effects (Distort, Modulation, Delay, Reverb, Pedal). When an effect is bypassed in Edit mode, its corresponding LED blinks. When active, the LED glows continuously. If some effects are bypassed in a Preset, their LEDs will flash when entering Edit mode.

Mode Switch

Pressing the Mode switch places the BCC in Edit mode, allowing individual effects to be turned on/off, parameters to be edited, and presets to be stored. After pressing Mode, the LED next to each numbered footswitch indicates whether the effect is engaged (continuous glow) or bypassed (flashing). Only in Edit mode can parameters be edited or presets stored. Pressing the Param button in Edit mode allows parameter editing.

REAR PANEL

Always use good-quality shielded cables for connections to the Input, Loop Send, Loop Return, Pedal, and Left/Right Out jacks.

Diagram Description: A diagram shows the rear panel jacks: INPUT, LOOP SEND, LOOP RETURN, LEFT OUT, RIGHT OUT, HEADPHONES, PEDAL, MIDI OUT.

Input

The Input jack accepts a 1/4" mono plug. Its high input impedance acts as a buffer, preventing the bass signal from being loaded down and ensuring the highest fidelity signal reaches the BCC's internal effects.

Loop Send

The Loop Send is a 1/4" jack that sends the Analog Effects' output to external processors. It can also serve as a pre-Digital Effects output to another amp, recording gear, or tuner.

Diagram Description: A signal flow diagram illustrates the programmable effects loop, showing the signal path from analog effects to external processors and back to digital effects.

Loop Return

The Loop Return is a 1/4" jack that accepts the output from external processors and sends it to the BCC's Modulation Effects and other Digital Effects, but only when the Loop is enabled in the current Preset.

Left Out

This low-impedance 1/4" output carries the final signal from the BCC after all processing. Use this output for mono setups requiring a single output.

Right Out

This low-impedance 1/4" output carries the final signal from the BCC after all processing. Use this to send a signal to a second amp or a mixing console for stereo applications.

Headphones

This 1/4" output jack drives headphones, allowing for preset auditioning or practice without disturbing others. The front panel Output level control governs the headphone output level.

Caution: The Headphone output can produce an extremely loud signal. Turn the Output control to a low setting before using headphones, then gradually increase the volume.

Pedal

This 1/4" input jack is for connecting a potentiometer-style volume or wah-wah pedal, such as ART's AP-1 Power Pedal. Do not use active pedals or those relying on a photoelectric sensor, as they will not work with the BCC. A shielded or unshielded cable can be used for connection. Refer to page 17 for details on programming the Pedal input.

Note: The BCC prefers pedals with a 100k ohm audio (log-taper) potentiometer. It automatically adjusts its range to accommodate various pedals.

Diagram Description: A diagram shows a bass guitar, an external pedal (ART AP-1 Power Pedal), and the BCC's rear panel, illustrating the connection from the pedal's output to the BCC's PEDAL input.

MIDI Out

The BCC is designed to send MIDI Program Change commands to other MIDI gear via the MIDI Out jack. This is useful for connecting the BCC to multi-channel amps or other signal processors with MIDI control. Preset 0.1 sends MIDI Program Change message 0; Preset 0.2 sends Program Change 1, up to Preset 9.5 sending Program Change message 49. Refer to MIDI/Util, page 18, for details on setting the MIDI channel.

Diagram Description: A diagram shows the BCC's rear panel MIDI OUT jack connected via a MIDI cable to the MIDI IN of external gear.

Power

This input accepts a 9-volt AC input from the adapter supplied by ART with your BCC.

Diagram Description: A close-up of the rear panel shows the "PWR 9VAC" jack and strain reliefs for the AC adapter's cord.

SETUP DIAGRAMS

PLUGGING DIRECTLY INTO A BCC & AMP

When plugging a bass directly into the BCC, ensure sufficient signal level from the instrument. Pay attention to the Clip LED on the BCC's front panel and set the Input level and instrument volume control for the best level and signal-to-noise ratio.

Diagram Description: Shows a bass guitar connected to the BCC's INPUT. The BCC's LEFT OUT is connected to a "First Amp Channel Input," and the BCC's RIGHT OUT is connected to a "Second Amp Channel Input."

USING THE BCC IN AN AMP'S EFFECTS LOOP

Patch the BCC into the effects loop of an instrument amplifier. For mono setups, use the BCC's Left Out jack. If the amp has two effects-loop return jacks for stereo operation, connect a second cord between the BCC's Right Out and the amp's second return jack.

Diagram Description: Illustrates connecting the amp's Effects Loop Send to the BCC's INPUT, and the BCC's LEFT OUT to the amp's Effects Loop Return. For stereo, the BCC's RIGHT OUT is also connected to the amp's second return jack.

PATCHING THE BCC INTO A MIXER'S REVERB SEND/RETURN LOOP

To connect the BCC into a mixer's reverb send/return loop, follow the diagram. For mono mixers, connect the BCC's Input and Left Out only. For stereo mixers with two reverb return jacks, connect a second cord between the BCC's Right Out and the mixer's second return jack.

Diagram Description: Shows a bass guitar connected to a mixer's REVERB SEND. The mixer's REVERB RETURN is connected to the BCC's INPUT. The BCC's LEFT OUT is connected to the mixer's REVERB RETURN. For stereo, the BCC's RIGHT OUT is also connected to the mixer's second return jack.

USING THE BCC IN STEREO WITH A POWER AMP & SPEAKERS

Patch the Right Out and Left Out from the BCC into the power amp's inputs or into the power-amp inputs on two instrument amplifiers. You can also plug directly into the amps' front-panel inputs, but you will need to adjust the BCC's output level and the amps' gain controls accordingly.

Diagram Description: Shows a bass guitar connected to the BCC's INPUT. The BCC's LEFT OUT is connected to a "First Amp Channel Input," and the BCC's RIGHT OUT is connected to a "Second Amp Channel Input."

PATCHING ANOTHER SIGNAL PROCESSOR INTO THE BCC'S EFFECTS LOOP

Connect the BCC's Loop Send to the input of an external signal processor, and the processor's output to the BCC's Loop Return, using shielded cables. Set the processor's input and output levels for minimum distortion and a high enough level to minimize hiss and noise.

Diagram Description: Shows a bass guitar connected to an external processor's INPUT. The processor's OUTPUT is connected to the BCC's LOOP SEND. The BCC's LOOP RETURN is connected to the processor's INPUT.

USING AN EXTERNAL PEDAL TO CONTROL BCC WAH-WAH AND VOLUME FUNCTIONS

Using a shielded or unshielded cable with 1/4" plugs, connect a potentiometer-style volume pedal (like ART's AP-1 Power Pedal) to the BCC's Pedal input. Other pedals may require using their input or output depending on their configuration. Program BCC Presets for Volume or Wah-Wah function.

Diagram Description: Shows a bass guitar, an external pedal (ART AP-1 Power Pedal), and the BCC's rear panel, illustrating the connection from the pedal's output to the BCC's PEDAL input.

USING THE BCC'S MIDI OUT TO CONTROL OTHER GEAR

Use a shielded MIDI cable to connect the MIDI Out from the BCC to the MIDI In of a signal processor, sampler, etc. Ensure the BCC and the other equipment operate on the same MIDI Channel. The BCC sends MIDI Program Change commands, allowing you to change presets on remote gear each time you change presets on the BCC.

Diagram Description: Shows the BCC's rear panel MIDI OUT jack connected via a MIDI cable to the MIDI IN of external gear.

WARRANTY & SERVICE INFORMATION

LIMITED WARRANTY

Warranty service for this unit is provided by Applied Research & Technology, Inc. (ART) according to the following statement. ART warrants the original purchaser that this product and its components will be free from defects in workmanship and materials for one year from the date of purchase. ART will, at its option, repair or replace defective products or components upon prepaid delivery to the factory service department or an authorized service center, accompanied by proof of purchase.

EXCLUSIONS: This warranty does not apply to misuse, abuse, unauthorized alterations, or repairs. It is void if the serial number is altered, defaced, or removed. ART reserves the right to make design changes without obligation to install them on previously manufactured products. ART is not liable for consequential damages, including loss of use. Some states may not allow limitations on incidental or consequential damages.

For units purchased outside the United States, service will be provided by an authorized ART distributor.

Service

For service in the United States, follow this procedure. For service outside the U.S., contact your authorized ART distributor.

1. Verify the unit is the cause of the problem. Check power, cable connections, and cable condition.
2. If the unit is at fault, describe the problem, including how and when it occurs.
3. Call the factory for a Return Authorization (RA) number.
4. Pack the unit in its original carton or a suitable substitute. Place this package inside another box for shipping. Print the RA number clearly under the address.
5. Include: a return shipping address (no P.O. Boxes), a copy of the purchase receipt, a daytime phone number, and a description of the problem.
6. Ship only the unit and its power supply (keep the manual!) to:

APPLIED RESEARCH & TECHNOLOGY, INC.
215 TREMONT STREET
ROCHESTER, NY 14608
ATTN: REPAIR DEPARTMENT
RA # [RA Number]

Contact customer service at (716) 436-2720 for your RA number or repair questions. Customer Service hours are 8:30 AM to 5:00 PM Eastern Time, Monday through Friday.

Customer Service

ART's Customer Service Department is available Monday through Friday, 8:30 AM to 5:00 PM Eastern Time, to answer technical questions and provide service information.

BCC Presets

The BCC comes with numerous factory presets organized into banks. Below is a list of available presets:

Bank 0

• F0.1 Jeremy
• F0.2 Spoonman
• F0.3 Heavy Dirge
• F0.4 Jaco Solo
• F0.5 Cool Flange

Bank 1

• F1.1 Charlie Brown
• F1.2 Mud Funk
• F1.3 Floating Bass
• F1.4 Drainpipe
• F1.5 Bass Oddity

Bank 2

• F2.1 Bootsy Funk
• F2.2 Bass Solo Double
• F2.3 Heavy Distortion
• F2.4 DTW Bass
• F2.5 You're No Good-VH II

Bank 3

• F3.1 3rd Bass From the Sun
• F3.2 Bass Return
• F3.3 Bass Invaders
• F3.4 Time Bass
• F3.5 Precious Dream

Bank 4

• F4.1 Harmonic Display
• F4.2 Fretless Wonder
• F4.3 Tap Dancer
• F4.4 Sea Bass
• F4.5 Difficult 2 Cure

Bank 5

• F5.1 Synth Bass 3
• F5.2 Flanged Bass
• F5.3 Nose Of Funk
• F5.4 Big Bottom
• F5.5 .5 Sec. Delay

Bank 6

• F6.1 No Frills
• F6.2 Dirt
• F6.3 Grind Vol. 1
• F6.4 Super Trip Delay
• F6.5 Xanadu

Bank 7

• F7.1 Super Chorus
• F7.2 Grind Vol. 2
• F7.3 Super Twang
• F7.4 Chorus Grind
• F7.5 Fender Jazz

Bank 8

• F8.1 Born in Chicago
• F8.2 Finger Style Jazz
• F8.3 Rockabilly Slap
• F8.4 Fretafifth
• F8.5 Mr. Petterrsson

Bank 9

• F9.1 Solo Fretless
• F9.2 SVT in a Box
• F9.3 Sub-Rave
• F9.4 Deep Dub
• F9.5 Dan Electro