CHANNEL SELECT
This switch in the center of the stacked switches allows manual selection of the Channels when the Footswitch
is not plugged in or available. The Center position labeled FTSW accommodates the Footswitch when plugged
in to the adjacent FTSW jack and allows remote switching between the Channels via the Footswitch. Make sure
the switch is in the Center position when using the Footswitch. Otherwise, the switch moved upward selects
Channel 1, the switch moved downward activates Channel 2.
MODE SELECT
These mini toggles above and below the Channel Select switch select the Modes in each Channel. In a sensible
fashion, the gain of each Mode increases as the switch is toggled downward. The Channels are identical, so
the switch operates the same way triggering identical Modes in each of the two Channels.
GAIN
In the Badlander, as with most MESA amplifiers, the GAIN is the most critical of all preamp controls. Its setting
determines much about the character and texture, dynamic content, and sustain factor of the sound and ef-
fectively pre-voices the sound in all three of the (identical) Modes appearing in both Channels.
Each mode reacts a little differently, but generally speaking, the middle range of the GAIN control provides
enough of everything and not too much of anything. Most of the middle range is supremely useful for almost
any style. Best of all, here, the instrument will sound like the instrument, as its character won’t be overshadowed
by saturation of the various tube stages.
For classic sounds, we recommend GAIN be set in the lower to middle region, somewhere between 10:30 and
2:00. This is where you will find the best blend of dynamic preservation and attack mixed with fullness and
sustain, again, without completely saturating the sound and covering up instrument’s character.
One good thing to remember is that the lower the GAIN control is set, the more transparency and top end you
will retain. As the control is increased, the top end will start to recede, and a fuller, fatter sound will emerge until,
eventually, it will be very fat and compressed and possibly even a little slower feeling along with the added
drive and sustain.
Another handy and reasonable approach is this; As GAIN goes up, BASS should come down. That is a very
general, broad-sweeping approach, but it is a fairly good way to preserve definition and attack characteristics
and keep your dynamic content as prominent and intact as possible. Still, reducing the BASS control can’t nul-
lify the compressing and darkening effects created by very high GAIN settings. It helps with the frequencies in
regard to preserving the attack, but it can’t counterbalance what happens to the dynamic characteristics. The
best way to preserve dynamic content is by using restraint and common sense with the GAIN control.
The higher region of the GAIN Control is appropriate for Classic, 70s style Rock or overdriven Blues sounds
in the CLEAN Mode, and Heavy sounds in CRUNCH and CRUSH. From 2:00 on up to 5:30/maxed, the sound
becomes very overdriven and filled with harmonic complexity. There are amazing sounds up here, you just
need to learn the ways to preserve attack and clarity through working with the BASS and other Tone controls,
as well as the overall MASTER setting, to retain as much attack and definition as possible.
Start by observing the rule of thumb outlined above: reducing BASS while increasing GAIN, and you should be
headed in the right direction. From there, some fine-tuning elsewhere in the Tone Controls where appropriate,
but once you’ve familiarized yourself with the frequencies and the interaction between the controls, it shouldn’t
take long to achieve a great blend.
Also, many players into heavy styles and fast tempos looking for the best blend of the highest gain and the
tightest tracking low end possible tend to avoid cranking the MASTER up past the point where you can start
to feel the power section working and stop before it is being pushed into clipping.
When the power section is pushed into clipping with high volumes, the tracking and dynamic character change
as the recovery time of the power supply starts to increase. There may be times to include power clip as part
PAGE 7