Mesa/Boogie JP-2C, Owner'S Manual, Page: 20 / 56

ment. Higher notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording
heavy crunch rhythm parts and even then, mostly on parts that feature the lower strings. This region, especially when coupled with
the inherent curve of many of the microphones typically used in P.A. (sound reinforcement) applications, can be truly punishing.
PULL PRESENCE (Repeated From Overview) This feature allows you choice of two different PRESENCE Voicings (both frequency
and response) to be applied to the two high gain Channels. This difference can be very useful for tuning the Channels to either
Crunch Rhythm sounds or a voice and feel that is silkier sounding and more inviting to play for lead work. Before we go any farther
with descriptions though, a quick detour; to achieve the best performance and dial-ability in this switchable PRESENCE circuit, it is
imperative you understand this important operating tip.
NOTE: The Two PRESENCE Modes Set Up Very Differently! Pushing and Pulling Will Probably NOT Give You Two Great Sounds!
You Need To Set The PRESENCE Control Differently For Each Voicing Mode! See Below “Setting”!
PUSHED-IN: The un-activated, pushed-in Mode is a new sound for the II-C+ circuit and features a circuit that accentuates a lower
frequency than our traditional PRESENCE circuit. It hits harder in a zone just above the TREBLE control’s region and allows for a
more aggressive, tighter attack response. This works well for Rhythm, where you need definitive placement in the time domain and
more punch and articulation. The harmonics top out earlier and are a bit more blended in this Mode. This also works well for single
note sounds where you don’t want a lot of harmonic content and instead prefer a tightly focused, more cohesive sound. This Mode
is also the anti-buzz or “tightly attached harmonics” Mode. This is opposed to the top end harmonics becoming a bit more detached.
There are times when you don’t want that separation or its three dimensional characteristics and instead want a focused, chest-kicking
voice. It can also have merit for lower to medium gain sounds for both rhythm and single note work. For Classic Rock gut-punch or
Blues solo sounds where you really want to jab and punctuate.
SETTING – PUSHED-IN: You will need to set the PRESENCE higher for this Mode. The frequencies are lower and appear darker and
more cohesive, especially when switching from PULL Mode. Set the Presence to approximately 1:00 and adjust from there to taste and feel.
PULL: This Mode utilizes the standard time-tested PRESENCE circuit used on MESA MARK amplifiers for decades. It produces a
higher PRESENCE frequency and because of that, a softer more elastic feel. It features for many the more inviting, easier to play
response of the two PRESENCE Modes as the higher harmonics “lay on top” of the notes played creating a haze or slurry (depend-
ing on your analogy) that makes the MARK II-C+ Mode, and in fact most high gain Modes, more creamy, vocal and singing. There
is definitely more harmonic content in this Mode and therefore, it is usually preferable to reduce the PRESENCE control to its lower
range when using the PULL Mode. Ignoring that approach will likely produce thin, pointed, shrill sounds that aren’t pleasing… es-
pecially for single note playing. There may be times for heavily saturated Crunch Rhythm sounds that a higher setting of the PULL
PRESENCE Mode is appropriate, but they will likely be few and far between. This Mode is instrumental in all the classic recordings
associated with the MARK II-C+ Lead Mode. It is directly and faithfully taken from that amplifier and has been used on most MESA
models since the first MARK I’s in the early ‘70s. Spend time working with the TREBLE and PRESENCE in the PULL Mode as many
“colors” of top end are available to you just within the range of these two rotary controls. May we suggest starting there and moving
to the Graphic Equalizers for fine tuning once you’ve got a basic sound you’re happy with here.
SETTING – PULL (Pulled-Out): Set the PRESENCE control lower for this Mode as the frequencies are higher and become more
easily detached from the notes played. Try settings between 7:00 – 10:00 for the most cohesive and vocal single note Lead sounds.
Settings up to 12:00 may be appropriate for Crunch Rhythm styles where more aggression and harmonic layering is desired.
This switchable PRESENCE Feature is just one of the many improvements made to the original II-C+ Lead circuit and together with
the PULL GAIN, they create an amplifier that has legendary Tone combined with modern adaptability. Between the two Channels and
their GAIN and PRESENCE options, you can create virtually anything you can dream in the realm of overdriven and/or high gain guitar.
Any amount of drive, any voice, any feel, it’s all here for your discovery. The fun part–the exploration–is up to you and your imagination.
TREBLE
If the GAIN control is the most powerful control in the Channels of the JP-2C, the TREBLE comes in a close second.
The TREBLE is responsible for shaping the character of the entire Channel. It can overpower the rest of the Tone controls easily and
therefore its setting is crucial to a rich and balanced sound in all three Channels.
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