MID
The MID control brings in and out a broad band of midrange frequencies and – as we have mentioned earlier in the TREBLE
section – along with these rides a fair amount of higher “low treble” range frequencies. These highs are lower than that of the TREBLE,
but they are important for the punch and cut of the amplifier in a mix.
For rhythm playing in the CLEAN Mode, but really globally in all the Channels, a lower MID setting (7:30–10:00) scoops some of this
midrange attack and makes the bottom end breathe more while letting the higher harmonics define the top end, producing more
sparkle, chime and openness. This range will also make things more resilient and create an easier to play, more elastic feel on the
strings. Single coil guitars work very well here for the slinky, rubber-band attack and bouncy bass character associated with Blues,
R&B, Country and most clean styles.
The middle region (10:00–1:00) is where the punch and attack begin to come on with more urgency and this is where mahogany
guitars really like to see the MID set for adding the cut and definition. Here the top end begins to show itself in the mix of the MID
controls’ spectrum and chording sounds start to chime and slash with a more forward and very present character.
From there on up (1:00–5:30) the MID introduces an aggressive range of sounds that are still full, but quite forward as the dominant
frequencies become those present under control of the MID. In this range you will likely have to increase the BASS to add back in the
richness and warmth that gets overshadowed when the MID control is set high. If you like the attack and urgency found in this range
of the MID, all the other controls (except maybe the MASTER, which you may have to back down as the sound gets more forward)
may have to be set higher to keep up with the MID dominant curve. This is fine, although there will reach a point of diminishing return
as the headroom in the preamp gets eaten up by this tonal arms race and you begin to clip the preamp with the high signal from the
Tone control string.
For gain sounds in DRIVE and HI, a similar story unfolds as the MID is increased. Lower settings (7:30 – 10:30) will produce wider
sounding, more elastic feeling chording sounds and the single notes will have a creamier, smoother character. High harmonics cre-
ated by the gain and controlled largely with the TREBLE, will put a patina of three-dimensional, harmonic-enriched haze on things
that smears nicely.
As the MID is increased past the 10:00 range, cut and bite begins to creep in along with a more chesty midrange punch. This is where
some classic Crunch is found in the middle range of the GAIN control. This MID kick is an integral part of the impact and tight-tracking
accuracy of this iconic medium-gain sound that has been a Rock staple for the last four decades. In both DRIVE and HI, the single
notes leap forward with greater authority, speed.
Passing the 1:00 on the MID unleashes the brash attitude and top end joins the party. Here is where you look for the most forward
and aggressive attack over a wider range than that of the TREBLE control. The feel on the strings will become less forgiving and your
playing will be put under a microscope in the time domain. This region is great for pushing Rock rhythm sounds to the forefront of a mix.
Single-note solo sounds will be fast, accurate and certainly will be heard by all. They will have a definite point of origin in the bar line.
One suggestion—or maybe more of a word of caution—the MID control contains frequencies that can be a little tough on the ears if
not used with some discretion. Be sure to put your head down by the cabinet at some point and sample what you are dealing out to
the audience and/or the microphone. You might be surprised how much impact—and possibly even unpleasantness—can be dialed
in with higher settings of the MID. Unless you are out to hurt people, which is never a good idea, you may find the middle to lower
range of the MID gives you plenty of attack and definition but still sounds balanced and warm and lets others enjoy your playing
without wincing at every note.
BASS
The BASS control blends in a fairly wide slice of rich bottom end to round out the sound. Internal switching that occurs
when the different Modes are selected re-voices the frequency and amount of bass present for each circuit. This difference is crucial
to the sounds and a big part of their character.
Clean incorporates a much lower bass frequency that adds depth, dimension and air to the sound. Both DRIVE and HI Modes utilize
a higher frequency of bass that produces a more resonant, thumping quality and keeps things tighter and more bouncy with the
added gain present in these two overdrive Modes. This frequency can be used in greater proportions as compared with the lower,
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