region, power (effectiveness) and character in the overall signature of the top end. So when dialing in your sounds make sure to use
all three of these controls to balance the different frequencies and amounts in your overall mix in each of the Modes.
REVERB
The FILLMORE™ uses an analog all-tube, spring Reverb circuit that produces lush, ambient Reverb effects from subtle
to fully-drenched “Surf” levels that really enhance the Fillmore’s vintage-inspired character. This control is the easiest to operate on the
entire amp because what you hear is exactly what you get and, other than the physical interaction of volume and whatever harmonic
resonances that might create, it is largely autonomous in nature and really shares no duties.
That said, much like the BASS, the more extreme the setting the GAIN control is, the more sensibly the Reverb should be applied.
Luckily, this seems to follow the stylistic boundaries to a certain extent, in that most players who use extremely gained up sounds,
tend to rely more on Delay than Reverb as their main form of adding a spatial quality to their sound.
However, in the clipped Clean domain things can often be different. In those circles, where clean amps cranked up produces the sound
in favor, the sound of Reverb Tanks and their springs being overdriven, along with the analog circuitry feeding them, is an integral part
of the authenticity and vibe. Feel free to utilize the CLEAN Mode for this application, crank the preamp’s GAIN control and set the
REVERB to your desired saturation level. Just remember that reverb is essentially a mechanical moving part at its core and therefore
affected by physical elements such as vibration, both in the amp and externally, and also by certain frequencies, as everything that
vibrates can potentially resonate with other things vibrating. The most clear example of this is Reverb set at very high levels “feeding
back” on certain notes. If you ever experience this phenomena, simply start reducing GAIN and Reverb levels, sometimes even the
Tone Controls individually, until things stabilize and no longer want to feed back and take off.
MASTER
This control determines the overall output level of each Mode/Channel and is located at the very end of the preamp.
By using it in combination with the GAIN control, any amount of preamp signal strength – gain – (Within a Channel’s parameters) can
be achieved at any playing volume. Once you have dedicated the Channels to their respective sounds with the Mode Switch, you can
then balance the volume levels of the Channels using the MASTER controls.
In addition to adjusting the playing loudness of the Channels, the MASTER, along with the setting of the GAIN control way upstream,
functions as an EFFECTS SEND level control for the EFFECTS LOOP. The levels have been optimized at the SEND to accommodate the
widest range of great usable sounds, so you will never likely know all the trouble we go to make sure not only do these three elements
work seamlessly in tandem and protect the integrity of your Tone WITHOUT using the Loop, you can rest assured your processors
will interface nicely with your FILLMORE™ without compromising the sound of it. However, please remember that EVERYTHING in
the signal path is a “Tone element”, so keep that in mind when choosing processors to place right in the middle of your amplifier. Try
to use processors of good quality that utilize good input and output circuitry as well as effects processor(s) or engines. For general
applications and to get the best performance out of all the Modes we recommend MASTER settings in the 9:30 – 1:00 range with
most great sounds producing adequate stage volumes around 10:00 – 12:00 on the MASTER.
Some purists like to run the MASTER all the way up and raise the GAIN until they reach their desired sound. The thinking there is
that this scenario achieves the purest sound. In theory, they believe this resembles removing the control altogether from the signal
path, and in a way it does. However, most all the “vintage non-master” amplifiers they are seeking to emulate have discrete resistors
in that place in the circuit anyway to adjust or “tune” the output of the preamp to the power section sensitivity.
The MASTER is nothing more than a variable resistor(s) that offers an infinite range of settings possibilities and makes the amplifier
many times more versatile with no sonic penalty. If you prescribe to this old school approach, then by all means, use the FILLMORE™
this way… it won’t hurt the amplifier. However you will be severely limiting the potential sounds you can achieve by removing the
limitless great sounding combinations of GAIN and MASTER settings.
CHANNEL SELECT
This 3-Position mini toggle allows selection of the two Channels when the Footswitch is not in use. To use
the Footswitch, select the Center FT. SW. position and select the desired Channel with the button on the Footswitch.
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