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PRESENCE
MASTER
(Cont.)
: desired level. This minimizes the possibility of blowing speakers or eardrums in the event the engineer has an
extremely sensitive input headroom setting in place at the console. Once again
avoid setting the programmable MASTER above
6.0 in the Clean Rhythm modes (Green/Yellow) as high settings here can possibly overload the input stage of the DYNAMIC VOICE
control, producing unwanted clipping.
PRESENCE: This control usually regulates either brightness or negative feedback in the power section of an ampli-
fier. In the
TriAxis a whole new approach to this traditional circuit was taken. An actual dynamic feedback loop that
compresses the highs and upper treble frequencies makes this
PRESENCE control the first of its’ kind. In applying
for the patent for this unique (high compression) circuit, we discovered that this same basic concept can apply to
many parts of the tube amp in guitar amplification and your
TriAxis is the first benefactor of such a breakthrough.
With greater understanding and patent grants behind us, lets talk sound.
As the
PRESENCE control is increased, more highs are allowed to pass. The lower the signal strength at the input
of this control, the more highs pass through it. The lower region of the
PRESENCE control dampens these high
harmonics. The greater the signal strength at the circuit input becomes, the darker the sound becomes.
So...if you set the PRESENCE
control high and pick softly (sending a small signal through the PRESENCE control circuit) the highs will be very prominent in
the mix.
If you decrease the PRESENCE control and pick harder (increasing the signal strength at the PRESENCE control circuit input)
the high harmonics will be very subtle. In other words, the PRESENCE control helps enhance whichever direction you’re trying
to go in with your sound and it does so dynamically! Most players love the way tube circuits react to subtle nuances in style...This
PRESENCE control circuit takes that idea a few steps further. When you’re “going off” on the treble strings in a solo and you go for
an expressive bend and lay hard into the note...
TriAxis works with you! If you picked the note hard with the PRESENCE control set
low, that note would become bigger, rounder and more compressed.
Likewise, if you were doing some low growling work on the bass strings and the
PRESENCE control was set high...you could relax
into this segment and let the
PRESENCE control make the edge. Most everyone that we know always wishes their high notes could
be fatter and their low notes to be more discernible and articulate...highs where you need them, lack of highs where you don’t. Make
sense...? If not on paper, then you need to plug in and experience the way this dynamic
PRESENCE control can enhance your play-
ing, especially when you are soloing.
DYNAMIC VOICE: This innovative circuit enabled the TriAxis’ one space package to include all the power and
sonic character of the 5 band graphic equalizer found aboard most
Boogie
combos and heads. Obviously there
was no room to house the five sliders necessary to make this EQ. circuit a graphic type...yet we were determined
to find a way of fitting this valuable sound shaping tool into
TriAxis. A creative approach led to a way of using an
increment and decrement key to control all five bands at once! Better yet, the
TriAxis’ method actually blends the
equalized signal with the “dry” signal. So, unlike our traditional Graphic equalizer - where the whole signal passes
through the circuit once it is activated...the
DYNAMIC VOICE circuit is an EQ and built in mixer all in one! As the
DYNAMIC VOICE is increased, the “dry/wet” mix is increased proportionally. This set up lends some extremely
cool and subtle sounds that can be obtained at the lower range of the control
1.0 through 4.0. As the control is
dialed through its middle and upper ranges, the mix becomes more predominantly eq’d and at a
DYNAMIC VOICE setting of 10 the
whole signal is passed through this circuit.
Simultaneous to this mixing action, the EQ “curve” changes proportionally. The
DYNAMIC VOICE uses a preset curve that was chosen
from countless hours of R&D and referencing hundreds of
Boogie
owners’ favorite “curve”. However, this curve changes depending
on the setting of the control. At
0.0 the mix is at 0% and the curve is flat. At 10 the mix is at 100% and the low end is boosted, the
midrange is cut and the highs are accentuated to promote that harmonic blend that’s so crucial to high gain rock or metal sounds.
Between the settings of
0.0 and 10, there is a whole range of curves/mixes that can enhance both clean and overdriven sounds
equally. We have found the best settings fall into a couple of setting areas: Clean sounds (though they are usually at their best without
THE CONTROLS:
(Continued)
DYNAMIC VOICE