Mesa/Boogie Pmn Manual de usuario

OOGIE

MESA

Owner's Manual

Series 2

Hello from the Tone Farm

...You, smart player and all around intuitive human, have put your trust in us to be

your amplifier company. This is something we do not take lightly. By purchasing and

choosing this unit to be a part of your musical voice, you have become part of the

MESA family...WELCOME! Our goal is to never let you down. Your reward is that

you are now the owner of a great amp, bred of fine all tube amp heritage...benefiting

from the many pioneering and patented MESA circuits that led to the refinement of

your new instrument. Feel confident, as we do, this amp will inspire many hours of

musical satisfaction and lasting enjoyment. It was built with you in mind, by players

who know the value of a fine musical instrument and the commitment it takes to

make great music. The same commitment to quality, value and support we make to

you...our new friend.

Precautions

OVERVIEW 1/2

INSTANT GRATIFICATION

(2 DEMONSTRATION SETTINGS) 2

CHANNEL / MODE SELECT

CHANNEL 1: CLEAN & PUSHED 3

CHANNEL 2: RAW, VINTAGE & MODERN 3/4

CONTROLS

GAIN 4/5

TREBLE 5

MIDDLE 5/6

BASS 6

PRESENCE 6

REVERB (Rect-o-Verb Combo & Heads only) 6

MASTER 7

OUTPUT CONTROL 7

SOLO CONTROL 8

TOGGLE SWITCHES

STANDBY 8

POWER 8

REAR PANEL CONTROLS, SWITCHES & JACKS

SLAVE OUT 9

SPEAKERS 9

BIAS SELECT 9/10

FX LOOP: Send & Return 10

EXTERNAL SWITCHING 10

CHANNEL SELECT TOGGLE 11

FUSE 11

AC RECEPTACLE 11

FACTORY SAMPLE SETTINGS 12/13

PERSONAL SETTINGS SHEET 14/15

TUBE DESCRIPTION & TASK CHARTS 16

SPEAKER IMPEDANCE & POSSIBLE HOOK-UP SCHEMES: Amplifiers to Speaker Cabinets 17/22

DIAGNOSING POWER TUBE FAILURES & MAINTENANCE 23

DIAGNOSING PRE-AMP TUBE PROBLEMS 24

BIAS ADJUSTMENT: A feature article by Randall Smith 25/27

TRIODES, PENTODES & IRISHMEN: A feature article by Randall Smith 28/30

PART SHEET 31

TABLE OF CONTENTS

Series 2

PRECAUTIONS & WARNINGS

Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.

USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:

READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.

YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE !

No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before removing chassis.

EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding conforms with local standards.

WARNING: EU: permission from the Supply Authority is needed before connection.

WARNING: Vacuum tube amplifiers generate heat. To insure proper ventilation always make

certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet.

Keep away from curtains or any flammable objects.

WARNING: Do not block any ventilation openings on the rear or top of the amplifier. Do not

impede ventilation by placing objects on top of the amplifier which extend past the rear edge of

its cabinet.

WARNING: Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not

place objects filled with liquids on or nearby the amplifier.

WARNING: Always make certain proper load is connected before operating the amplifier.

Failure to do so could pose a shock hazard and may result in damage to the amplifier.

Do not expose amplifier to direct sunlight or extremely high temperatures.

Always insure that amplifier is properly grounded. Always unplug AC power cord before changing

fuse or any tubes. When replacing fuse, use only same type and rating.

Avoid direct contact with heated tubes. Keep amplifier away from children.

Be sure to connect to an AC power supply that meets the power supply specifications listed on

the rear of the unit. Remove the power plug from the AC mains socket if the unit is to be stored

for an extended period of time. If there is any danger of lightning occurring nearby, remove the

power plug from the wall socket in advance.

To avoid damaging your speakers and other playback equipment, turn off the power of all related

equipment before

making the connections.

Do not use excessive force in handling control buttons, switches and controls. Do not use

solvents such as benzene or paint thinner to clean the unit. Wipe off the exterior with soft cloth.

Congratulations on your choice of the

SINGLE RECTIFIER 50 Series 2

ampliﬁ er. You have purchased a handbuilt instrument of

the ﬁ nest quality and craftsmanship. A unique blend of yesteryears’ black magic power section design combined with our race-shop

approach to ﬁ nely tuned, high gain pre-amp circuitry leaves the

RECT-O 50

Series 2

RECT-O 50 Series 2 RECT-O 50

standing alone...instantly a classic destined

for vintage status. With two channels housing ﬁ ve deﬁ nitive and distinctly different Modes, a complete array of amazing guitar sounds

can be obtained quickly and easily.

Looking to the Rear Panel assures that all your interfacing needs are covered. A Parallel Effects Loop with a MIX Control provides

tone insurance for even those questionable effects. To use the

SINGLE RECTIFIER 50

in larger rack systems, or to interface to

other power sections, the SLAVE jack and is a welcome feature. Two speaker jack combinations have been provided - two 4 Ohm and

one 8 Ohm - to ensure the proper impedance match to many types of speaker enclosures. The other features will prove to be quite

valuable to you and further along in this manual they are covered extensively.

PAGE 1

Series 2

Operating Instructions

FRONT PANEL HEAD VERSION: SOLO 50 HEAD SERIES 2

Instant Gratification Demo Settings

INPUT

CLEAN

PUSHED

MODERN

RAW

POWER

STANDBY

GAIN

TREBLEMIDPRESENCE BASSMASTER

SOLO OUTPUT

CH2

CH1

REAR PANEL HEAD VERSION: SOLO 50 HEAD SERIES 2

10%

FX MIX RETURN SEND

WARNING:

Unplug power

before replacing

fuse or removing

bolts mounting

POWER FUSE

2.5 A

SLO

BLO

120 V~

50-60 Hz

2.5 A

WER FUSE

FRONT PANEL COMBO VERSION: RECT-O-VERB 50 SERIES 2

INPUT

POWERSTANDBY

GAIN MASTER

PRESENCEBASSTREBLE MID

OUTPUT

CLEAN

PUSHED

MODERN

RAW

CH2

CH1

REAR PANEL COMBO VERSION: RECT-O-VERB 50 SERIES 2

CHANNEL SOLO REVERB

WARNING:

Unplug power

before replacing

fuse or removing

bolts mounting

POWER FUSE

2.5 A

SLO

BLO

120 V~

50-60 Hz

2.5 A

WER FUSE

EXTERNAL SWITCHING

WARNING:

To reduce risk of fire or

electric shock, replace fuse with

same type and rating only. Do not

CAUTION: To reduce risk of fire or electric

shock, do not remove cover. No

user-serviceable parts inside. Refer

SOLO

FUSE

CHANNEL 1

CHANNEL 2

SET TO CHANNEL 1

TO USE FOOTSWITCH

FOOTSWITCH

SOCKET

BELOW

SEND RETURN FX MIX

PARALLEL EFFECTS LOOP

10% 90%

ALL TUBE AMPLIFIER HANDMADE IN PETALUMA, CALIF USA

8 OHM 4 OHM 4 OHM

SPEAKERS

OUT

SLAVE

(USE WITH TWO 8 OHM SPKRS)

(COMBO) (TO EXT. PWR AMP)

SINGLE RECTIFIER SERIES 2 RECTOVERB

CAUTION

SWITCH MUST MATCH

TUBES IN USE

6L6

BIAS SWITCH

EL34

FUSE

CHANNEL 1

CHANNEL 2

SET TO CHANNEL 1

TO USE FOOTSWITCH

PATENTED 4,211,000 & OTHERS PENDING FOR SOLO, MUTE & LOOP CONFIGURATION

FOOT

SWITCH

SOLO CHANNEL

EXT. SWITCHING

4 OHM 4 OHM 8 OHM

SPEAKERS

WARNING:

To reduce risk of fire or

electric shock, replace fuse with

same type and rating only. Do not

CAUTION: To reduce risk of fire or electric

shock, do not remove cover. No

user-serviceable parts inside. Refer

FX LOOP

90%

CAUTION

SWITCH MUST MATCH

TUBES IN USE

EL34

BIAS SWITCH

6L6

ALL TUBE AMPLIFIER HANDMADE IN PETALUMA, CALIF USA

SINGLE RECTIFIER SERIES 2 SOLO HEAD

OUT

SLAVE

(TO EXT. PWR AMP)

REVERB

OVERVIEW:

PAGE 2

FRONT PANEL:

First familiarize yourself with the layout of the Front Panel. Next, remove the footswitch from the transport pouch located inside the

cabinet ( combo ) and connect it to the proper jack.

RECT-O-VERB Series 2

ampliﬁ ers use a DIN jack located on the underside of

the chassis’s outer edge. Labeling which reads FOOTSWITCH SOCKET BELOW should help you locate the jack.

SOLO 50 HEAD

Series 2

ampliﬁ ers have their DIN Jack located on the Rear Panel proper. (See illustration at the bottom of this page). If the footswitch

is not available, you may select the two channels via the manual Channel Select toggle switch located on the Rear Panel.

POWER UP:

First remove the protective covers from the tubes (plastic webbing) before connecting the A.C. cord

to a power receptacle.

Connect your favorite guitar to the instrument INPUT jack. Flip the POWER switch to the ON position while

leaving the STANDBY switch set to STANDBY.” (It is always a good idea to practice this start up procedure as at least 30 seconds

of warm-up time lessens the shock on cold power tubes, thus prolonging their life substantially.) Next, using the example below as a

guide, set the controls as illustrated and ﬂ ip the STANDBY switch to the ON position to listen to the two distinctly different channels

using either the footswitch or the Channel Select toggle switch as mentioned in the paragraph above.

Before discussing each control, let’s audition a couple of possible ways the two channels might be conﬁ gured for footswitchable sounds.

The ﬁ rst example leans towards a more traditional format with a clean rhythm dialed up on CHANNEL 1( Green ) and a moderate

gain, vintage style solo sound dialed up on CHANNEL 2 ( Red ).

This second example leans in a more aggressive direction with CHANNEL 1 switched to PUSHED for a crunchy high gain rhythm

sound and CHANNEL 2 switched to MODERN for a blistering lead voice.

NOTE:

NOTE: NOTE:

CAUTION - REDUCE THE OUTPUT LEVEL CONTROL BEFORE PLAYING THESE SOUNDS AS THE ADDED GAIN IN-

CREASES VOLUME LEVELS.

Now that you’ve heard the

RECT-O 50’s

two channels, let’s move on to understanding the controls and their interactive roles in

achieving the sounds that

you

want to hear.

you want to hear.you

INSTANT GRATIFICATION: Demo Setting #2

INPUT

CLEAN

PUSHED

MODERN

RAW

POWER

STANDBY

GAIN

TREBLEMIDPRESENCE BASSMASTER

SOLO OUTPUT

CH2

CH1

WARNING:

Unplug power

before replacing

fuse or removing

bolts mounting

chassis.

POWER FUSE

2.5 A

SLO

BLO

120 V~

50-60 Hz

2.5 A

POWER FUSE

FUSE

CHANNEL 1

CHANNEL 2

SET TO CHANNEL 1

TO USE FOOTSWITCH

FOOTSWITCH

SOCKET

BELOW

PATENTED 4,211,000 & OTHERS PENDING FOR SOLO, MUTE & LOOP CONFIGURATION

RECT-O-VERB COMBO Series 2

WARNING:

Unplug power

before replacing

fuse or removing

bolts mounting

chassis.

POWER FUSE

2.5 A

SLO

BLO

120 V~

50-60 Hz

2.5 A

POWER FUSE

FUSE

CHANNEL 1

CHANNEL 2

SET TO CHANNEL 1

TO USE FOOTSWITCH

PATENTED 4,211,000 & OTHERS PENDING FOR SOLO, MUTE & LOOP CONFIGURATION

FOOT

SWITCH

SOLO 50 HEAD Series 2

INSTANT GRATIFICATION: Demo Setting #1

INPUT

CLEAN

PUSHED

MODERN

RAW

POWER

STANDBY

GAIN

TREBLEMIDPRESENCE BASSMASTER

SOLO OUTPUT

CH2

CH1

Each channel of your ampliﬁ er contains different modes of operation that may be selected depending on your application. In this way

you may decide to use the channels for their most obvious sounds or with the ﬂ ick of a switch - invert the channels for the opposite

sound style. The voicing of the modes is accomplished by rerouting and reconﬁ guring the circuit in both pre-amp and power sections

of the ampliﬁ er. Here are the choices;

CHANNEL 1

CLEAN :

This is the lowest gain circuit of the

RECT-OS’

ﬁ ve modes and is optimized for producing balanced

RECT-OS’ ﬁ ve modes and is optimized for producing balanced RECT-OS’

pristine clean sounds. For the best understanding of how to achieve a great sound in this mode, please refer

back to the GAIN Control section of this manual. However, a great place to start is 12:30 or so on the GAIN

Control with more sparkle available below this and more warmth apparent above...from there adjust according

to your guitars individual response.

Because of its more traditional architecture this mode also works extremely well for vintage style drive sounds. By turning the gain

all the way up, a beautiful old school solo sound is possible...especially with neck single coil pick-ups. The TREBLE and MIDDLE

Controls can also add gain and sustain to this sound ( reduce Presence to blend highs ), but you will probably want to run the BASS

Control below 10:30 to avoid ﬂ ubbiness and preserve a focused attack.

PUSHED:

This mode is a radical departure from the sweet shimmering blend of the CLEAN modes low gain character. Huge increases

in gain early on in the ﬁ rst stages of the pre-amp produce one of the biggest differences between modes in the entire ampliﬁ er and

transforms what you thought to be a tame and gentle clean channel into a raging crunch machine. This incredible amount of gain

also creates one of the most expressive solo modes in your

RECT-O

. Because there are less stages of gain for the signal to travel

through and the tone control network is tuned for the brighter nature of clean sounds, this mode responds quicker to your pick attack

and has a more urgent, snappy feel. Don’t overlook this mode for some of the

RECT-OS’

coolest overdrive solo sounds.

RECT-OS’ coolest overdrive solo sounds.RECT-OS’

NOTE:

NOTE: NOTE:

When using PUSHED with the GAIN Control maxed (5:30), do not run the TREBLE Control above (2:30). Settings above

(2:30) can create possible oscillation in certain preamp tubes in the V-1 position. This can be avoided altogether by setting the TREBLE

Control sensibly when the GAIN Control is maxed. Use the PRESENCE Control for additional brightness.

CHANNEL 2 / Modes

RAW:

This new

RECT-O

mode has the lowest gain of the three in the high gain lead channel. Its’ less saturated nature greatly en-

RECT-O mode has the lowest gain of the three in the high gain lead channel. Its’ less saturated nature greatly en-RECT-O

hances the already versatile bevy of sounds the lead channel offers. The range of gain available covers an extremely wide spectrum

and it can be set to double as a formidable alternate clean mode, a low gain purring blues sound and beyond, all the way up to a

grinding crunch or searing solo sound.

The TREBLE can be set relatively high (2:00) to add a little more gain and shred when using

RAW

for certain

crunch rhythm sounds. Don’t overlook the amazing low and medium gain soloing potential

RAW

offers, as

its more gradual GAIN response produces a wide range of voice like single note sounds that are somewhat

more dynamic due to less saturation.

VINTAGE:

This high gain mode is the famous liquid

RECT-O

voice and it can be found in its original state

RECT-O voice and it can be found in its original state RECT-O

here in CHANNEL 2. Its lush harmonic content and fat creamy feel has found its way onto so many recordings, it is now a staple for

anyone headed to the studio for an album project. Combining this super juicy, expressive preamp with the

RECT-OS’

magic 50 watt

RECT-OS’ magic 50 watt RECT-OS’

power section creates colors in gain that most players ﬁ nd truly addictive. Single note solo work is effortless as the strings become

easy to play with

VINTAGE

modes musical and natural tube compression. Spend time learning the lower regions of the

VINTAGE

mode as the overlap between RAW and

VINTAGE

is a place where many beautiful sounds lie. These two modes are similar enough

when

VINTAGE

is set in its lower range and RAW is set in its medium to higher range and yet each possesses a character that is

unique and identiﬁ able. You will likely ﬁ nd your new trademark lead sound lurking somewhere in this sea of liquid gain.

PAGE 3

CHANNEL / MODE SELECT:

INPUT

HEAD VERSION

CLEAN

PUSHED

MODERN

RAW

HEAD VERSION

INPUT

PAGE 4

MODERN:

Aggressive. This is the word that best describes the menacing power of the

RECT-OS’

most rebellious of all modes.

RECT-OS’ most rebellious of all modes. RECT-OS’

A take no prisoners, crushing assault of top end cut and lightning fast response creates a sound of unparalleled aggression that has

set a new standard for hard core sounds. The added tightness of the low end response combined with the radically more present top

end keeps the MODERN mode tracking accurately even at extreme gain settings.

GAIN:

This control adjusts the predominant gain stage in each channels’ circuit with the function and taper being optimized for

each individual channel. Remember that your

RECT-O 50

is really two separate multi-mode ampliﬁ ers built onto one chassis, so

RECT-O 50 is really two separate multi-mode ampliﬁ ers built onto one chassis, so RECT-O 50

though each channel looks identical, the

GAIN

Control for each channel comes in a different place and adjusts a different point in

that channels circuit.

In most guitar ampliﬁ ers, and especially in all-tube circuits, the

GAIN

Control is the most powerful

control in the preamp. It shapes the overall style and character of the sound and is responsible for

whether the sound is clean, overdriven or anywhere in between. In your

RECT-O 50

, the

GAIN

Control is even more powerful. It not only determines the amount of drive, but also acts as an integral

part of the tone control string as well.

To simplify the

GAIN

Controls’ role in shaping the overall tone of the sound we will look at it in two

ways -

alone and

in conjunction with the tone controls.

1) By itself the GAIN Control has basically three tonal regions -

Low ( 7:00 - 11:00 )

provides the cleanest, least saturated sounds and in this region the sound will be brighter and contain more

upper harmonics lending a three dimensional character to the sound.

Middle ( 11:15 - 2:00 )

enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a fuller

bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in all three channels. This region

contains many of the

RECT-OS’

best sounds...especially for soloing due to the crucial blend of an expressive attack combined with

RECT-OS’ best sounds...especially for soloing due to the crucial blend of an expressive attack combined with RECT-OS’

ample sustain.

High ( 2:15 - 5:00 )

saturates the signal and enhances low and low mid frequencies. While this region provides the maximum satu-

ration and therefor sustain, it also compresses and softens the attack characteristics. For this reason we suggest using this higher

region of the

GAIN

Control sparingly and only when maximum sustain is needed.

NOTE:

NOTE: NOTE:

Due to the

RECT-OS’

extreme gain potential, the highest regions of the

RECT-OS’ extreme gain potential, the highest regions of the RECT-OS’

GAIN

Control may possibly push the pre-amp

tubes past what they can handle, producing microphonic squealing. While we screen and test the tubes your ampliﬁ er was shipped

with and the tubes in your amp passed our rigourous test, we can’t predict how the tubes will respond over time exposed to extreme

gain settings. Your tubes are warranted for a period of 6 months under normal use, but you can save yourself the present and future

inconvenience of having to deal with annoying microphonic tube problems by simply using

a little common sense...Don’t turn the

Gain all the way up!

If you must for a speciﬁ c part or at very low volumes, back down the TREBLE and PRESENCE Controls. Your

RECT-O 50

was

designed to provide amazing gain and tone at less than extreme settings removing the need for you to crank everything all the way

up. If you are not able to achieve the sound you want at sensible settings on any or all of the controls, your problem may lie elsewhere

in the signal chain, i.e. pick-ups, cabinetry, processing etc. Keep in mind you can always call on one of our product specialist Monday

through Thursday and seek some advice should you ﬁ nd yourself struggling to get the sound you want.

CHANNEL / MODE SELECT: (Continued)

CONTROLS:

HEAD VERSION

GAIN

INPUT

CLEAN

PUSHED

MODERN

RAW

2.) GAIN - In conjunction with the Tone Controls -

Basically, a simple rule applies...as the Gain is increased the Tone control string

has less and less effect on the signal until at 5:00 the signal is so saturated that you are

getting mostly Gain and very little Tone

. Again,

this is the reason we suggest using the

GAIN

Control in its middle region. Here the Tone control string is very active and provides

maximum shaping power - allowing you to dial virtually any sound you desire.

TREBLE:

As in most tube guitar ampliﬁ ers, the

TREBLE

Control ( in both channels of your

RECT-O 50

) is the most powerful

of the rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is ﬁ rst in the signal path of the tone

controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of

the

TREBLE

Control is very important for equal representation of the three frequency regions to appear at their respective controls.

Like most of the controls on your

RECT-O 50,

there is an optimum region of the

TREBLE

Control where ample top end is mixed in

and yet enough signal is still passed on to the MIDDLE and BASS Controls.

Between 11:00 and 1:30 is where you’ll ﬁ nd the sweet spot .

There are deﬁ nitely great sounds above and

below this middle region, but the balance between the

TREBLE

Control and the other two tone controls is

compromised.

The one place you may want to throw caution to the wind and set the

TREBLE

Control above this median

zone presents itself in Channel 1 of your new

RECT-O 50

. In both modes ( Clean & Pushed ), the

TREBLE

Control can be used to dump extra gain into the mix. This is especially effective in the PUSHED mode for

crunch sounds. When doing so use the PRESENCE Control to roll off some of the more than ample top end

for a more compressed feel and fatter voice. As you might surmise, the BASS Controls’ effectiveness will be reduced, so you may

have to run a much higher setting than you are used to seeing to achieve a balance. This said, keep in mind that the

TREBLE

Control

in Channel 1 Pushed should not be set much above 2:30 to avoid unwanted microphonic tube problems.

MID:

The

MID

Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as

that of the TREBLE Control, it plays an integral part in achieving any sound in your

RECT-O 50

. It is capable of changing the feel

dramatically as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.

Most players tend to lean in the direction of lower

MIDDLE

Control settings ( 7:00 - 11:00 ) where a scoop in

this region produces

girth

( by letting the Bass become a little more dominant ) and a lack of punch lends a

more compressed,

even

feel to the strings and therefore less apparent resistance to the pick. As the

even feel to the strings and therefore less apparent resistance to the pick. As the even

MIDDLE

Control is increased, ( 11:30 - 1:30 ) the sound is rounded-out and ﬁ lled-in with a focused mid attack appear-

ing rather quickly. As you would guess, the feel starts to change - becoming more resistant. Above this region

the

MIDDLE

Control could be used to compensate for either weaker pick-ups or for times when a speciﬁ c

deﬁ ciency is produced by either an extremely high setting of other tone controls, or a physical anomaly in the

room. While these

MIDDLE

Control settings ( 2:00 - 5:00 ) can introduce added gain and create enhanced

focus, the trade-off will be a stiffer, more forward, less compressed feel.

Channel 1 utilizes a different MIDDLE Control than that of the Channel 2

with a custom-designed taper and value. In its low range

( below 12:00 ) it functions as a normal midrange control with a taper suited to blending ﬁ ne increments of these frequencies. Most

players lean toward a fairly radical scoop ( 7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus

producing the signature sparkle and breath essential for a pristine clean sound.

PAGE 5

CONTROLS: (Continued)

HEAD VERSION

TREBLE GAIN

HEAD VERSION

MID TREBLE

As Channel 1’s

MIDDLE

Control is swept past 1:00, it quickly starts to add gain in these midrange frequencies adding cut and punch.

As the top end of the control is reached, ( 3:00 - 5:00 ) it becomes an additional

gain control

capable of taking both CLEAN and

gain control capable of taking both CLEAN and gain control

PUSHED modes to extremes. Experiment with this cranked region in conjunction with conservative settings of the other tone controls

to balance both sound and feel. While this added ﬂ exibility may make Channel 1’s

MIDDLE

Control a little more tricky to learn at ﬁ rst,

it will become quite valuable as you start to realize the power of this super versatile channel.

BASS:

Last, but not least in the string of tone controls we come to the

BASS

. This control works similarly in both channels in that it

determines the amount of low frequencies present in a sound. However, the actual frequencies and

style of lows

it mixes in changes

style of lows it mixes in changes style of lows

from channel to channel. Like the MIDDLE Control, it falls in line signal-wise

after

the TREBLE Control and the same scheme applies.

after the TREBLE Control and the same scheme applies. after

When the TREBLE Control is set high, the effectiveness of the BASS and MIDDLE Controls is reduced. If

the TREBLE Control is set low these two controls become dominant.

For the most balanced sound and a balance of power between the three rotary tone controls, try to use the

TREBLE Control in its middle ranges. This scenario produces nearly equal representation of all the frequen-

cies on the tone controls and provides a great neutral starting point for further tweaking.

PRESENCE:

The

PRESENCE

Control is a high frequency attentuator that is placed at the end of each channels pre-amp stage

and affects frequencies higher than those of the TREBLE Control. It acts independently of the other rotary tone controls and is crucial

in voicing the Channel. It is a powerful global tone control. Lower

PRESENCE

Control settings darken and, in fact compress the signal

which works well to fatten single note solo sounds, giving them girth and focus. Some of the best lead sounds in your

RECT-O

will

ﬁ nd the

PRESENCE

Control in its lower regions, where a balanced, vocal response is achieved.

Higher settings unleash the mighty roar of your

RECT-O

and this can be great for sparkling clean sounds

RECT-O and this can be great for sparkling clean sounds RECT-O

in Channel 1 and more aggressive crunch rhythm sounds in the high gain modes. Be sure to taunt the beast

that lurks in Channel 2 MODERN as the

PRESENCE

is truly amazing in this most agro mode.

REVERB: RECT-O-VERB / COMBO & HEAD

These self explanatory controls deliver the rich natural reverb sound. Although

the circuit is the same for both Channel 1 & Channel 2, the amount of

REVERB

available is not. In Channel 2 there is slightly less

REVERB

available overall because of this channels’ very nature.

The reason behind this is two fold:

1.)

that it is easier to prevent the massive amount of Gain and signal strength present in either of

Channel 2’s high gain modes from causing unwanted

REVERB

oscillations.

2.)

This channels aggressive nature lends itself more to musical styles where high settings of

REVERB

are simply not traditional. Don’t worry...there is still plenty of

REVERB

for drenched solo

work in both the RAW & MODERN Mode in Channel 2. Simply run the

REVERB

Control a little

higher than that of Channel 1.

CONTROLS: (Continued)

PAGE 6

HEAD VERSION

MID

BASS

HEAD VERSION

PRESENCE BASS

REVERB MAST

ENCE

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