Mesa Rosette 300 Two:Eight Owner'S Manual Download Page 10

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affects the sound of your instrument and decreases your options to dial in a good sound. Avoiding having your instrument directly in
the ‘line of fire’ of the amp’s output will always make toning and feedback control much easier.

When using a pickup system that includes both a pickup and a microphone, be sure to switch one of the PHASE switches back and
forth and choose the position that is most rich & full. There is no standard for polarity of pickups so experimenting with what PHASE
setting sounds best insures that they are in relative PHASE with each other. Once this is done, switch both together to determine
if one position is more prone to feedback than the other (and select the position that is least prone to feedback). This simple test
determines the polarity of the entire instrument relative to the speaker.

Finally, we suggest keeping the Rosette Combo on the floor. This helps in transmission of sympathetic vibration, which helps the
feel on the instrument and may also reduce the potential for feedback. Raising the front of the amplifier with the ingenious Twist-Lift
tilt-back feature keeps two feet on the floor and maintains the coupling of the amp to the floor while directing the sound upward for
both the player and the audience.

If you must put the Combo up on something, remember to face away from it with your instrument and you may also need to reduce the
BASS setting, increase the HI-PASS Filter and make adjustments to the EQ Section to accommodate the proximity to the instrument.

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CHANNEL 1 INPUT SELECT

Channel 1 supports use of either a low-impedance Microphone based-system, or a microphone

used for singing or any other reasonable purpose, a Piezo Pickup/high-impedance source or magnetic acoustic pickups. Select the
INPUT application you need with the INPUT SELECT mini toggle and connect the Source, with an appropriate cable, to the appropri-
ate INPUT for that application.

MICROPHONE INPUT JACK

This jack is the input connector that feeds the microphone preamp of the ROSETTE microphone

channel. The microphone preamp features a discrete, low impedance balanced input amplifier, which provides appropriate loading
(approx. 3k ohms) and gain to the microphone. The MICROPHONE INPUT jack provides DIN P-12 phantom power, which works
well with most microphones encountered in the live sound industry. If a higher voltage is required, (such as DIN P-48), an external
phantom power supply may be used in line with the input. It is always good practice to turn down the MIC GAIN control and mute the
channel whenever connecting or disconnecting your microphone to prevent pops from being sent to the internal speaker and also to
the DI Output. Your sound engineer will also appreciate this bit of courtesy.

PHANTOM POWER LED

This LED indicates that phantom power is present on the MIC INPUT (when the input is selected).

Note that phantom power can be enabled or disabled internally via DIP switch J2 located inside the amp chassis, behind the mic jack,
and is clearly labeled. For virtually all typical applications, regardless of internet lore and old wife’s tales, phantom power can be present
with no adverse effects. Your amplifier ships from the factory with phantom power engaged. The only real worries concerning phantom
power arise with some ribbon mics (check with the manufacturer, many introduced within the past 10 years have no problem and
some require phantom power), and with certain cable faults, but only in conjunction with a small number of especially vulnerable mics.

PICKUP INPUT JACK

This jack is the input connector that feeds the first stage monolithic JFET buffer amp of the Rosette

PICKUP INPUT. The input sensitivity of this input buffer amp is compatible with all common pickup levels and impedances (input

PICKUP

PHASE

PICKUP INPUT

CH 1

CH 2

MIC INPUT

PLAY

MUTE

CLIP