and possibly detrimental here, frequency used in the CLEAN mode. Therefore the need to be able to have different amounts of these
two different frequencies is critical to both great sound and great footswitching compatibility between the Modes/Channels.
In the CLEAN mode, we like the balance of the BASS control when it is blending in warmth and body, but not overpowering the attack
and sparkle in the mix. Depending on the setting of the GAIN control this can be different, as the lower GAIN settings can handle a
little higher BASS settings. You will have to experiment with the exact settings. Below is a rough guideline example. But basically, if
you follow this simple common sense approach—as GAIN goes up, BASS should come down—you’ll find great sounds more easily.
Example:
• With the GAIN at 12:00 – BASS at 1:00
• With the GAIN at 1:00 – BASS at 12:00
• With the GAIN at 2:00 – BASS at 11:00
Again, this is just to give you a rough example of the concept. The offset differences might be greater than this or less, depending on
guitar, speaker cabinet, room, live pics on stage, outdoors vs. indoors, etc.
The higher frequencies found in the BASS control in the DRIVE and HI modes are much more forgiving and can be used in higher
amounts than the lower frequencies present in CLEAN. BASS settings between 12:00 and 3:00 will be commonplace with lower
GAIN settings needing higher BASS settings and higher GAIN settings calling for more careful use of the BASS control. As the gain
gets set lower and lower (GAIN 10:00 – 12:00) and things get tighter, there is a need for the rich low-end air that is created by the
BASS control. When the gain saturates things as it’s cranked up (GAIN 12:00 – 5:30), the notes thicken up and less bass is needed
to create girth until - at a certain point - the bass frequencies start to slow things down and can even get in the way for some styles.
The great thing about the BASS control is that is the least affected by other controls and really the GAIN is the only control you will
need to consider as far as avoiding less than optimum sounds. Unlike the TREBLE, MID and PRESENCE, which share the top end
duties across a wide spectrum from really high midrange all the way to the harmonic region far above that the TREBLE affects, the
BASS is a one stop shop in terms of dialing in rich low end.
PRESENCE
This control adjusts high frequencies above those of the TREBLE and is farther downstream in the signal path
than the standard Tone Controls and located in the power section. You can think of the PRESENCE as a control that allows you to
either clamp the highs down in the power amp, compressing and darkening things - or open it up and let the full spectrum of upper
harmonics come chiming through. It also has a great deal to do with how dynamic the signal is and how a sound will cut through
the mix in an ensemble environment.
At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic attack, especially in the
upper frequencies that add urgency, will be limited. As the PRESENCE is increased (11:00 – 2:30), the top end starts to become
more dominant and that compression gives way to “cut” and dynamic peaks jump out with startling speed and accuracy. At the top
end of the control (2:30 – 5:30), a super aggressive blend of upper harmonics dominate the sound and this region can be somewhat
dangerous if it’s not applied in small measures. Higher notes will slice and dice even the bravest set of ears and we suggest using
this region mostly in the studio for recording where the sound can be isolated and dealt with in context. Even then, it may find it’s most
appropriate applications on parts that feature the lower strings. This highest 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 in the wrong hands, so
be cautious and courteous to your bandmates and audience and dial with care.
Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this or any Channel that
has overdrive involved in its makeup. Once saturation begins the frequencies carried in the PRESENCE control can make things edgy
or brittle… even buzzy, real fast if you aren’t careful. Overdriven chording sounds can tolerate higher settings (10:30 – 12:30) better
than can single note sounds, which usually want to roam the zone below 11:00 to stay round, focused and vocal.
NOTE: As mentioned earlier, the entire top end spectrum is shared among the TREBLE, MID and PRESENCE, each having its own
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