Mesa Rosette 300 Two:Eight, Owner'S Manual

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adjustment of Reverb Time and the CHORUS program allows for rate and depth parameters. For the CHO-
RUS program, the PARAM controls, left to right, adjust these elements:
PARAM 1: Reverb Mix (blend of wet vs. dry signal)
PARAM 2: Chorus Rate (speed of modulation)
PARAM 3: Chorus Depth (mix of effect vs. dry signal)
NOTE: Counter-clockwise is least or off, Clockwise is most or fastest.
• ROOM REVERB These programs are generally based (or modeled) on smaller acoustic spaces, have shorter
pre- delays, decay tails and initial reflections, less complex regeneration algorithms and are a little brighter and
more articulate and even aggressive overall, as they tend to not give the feeling of “slowing” the signal. They
are used to fatten and warm up the fullness of a guitar while providing a mild bit of acoustic sustain. Because of
their shorter times and faster reflections, they are often the best choice for playing that has a lot of rhythmic con-
tent or percussive punctuation. For the ROOM program, the PARAM controls, left to right, adjust these elements:
PARAM 1: Reverb Time
PARAM 2: Low Pass Filter
PARAM 3: High Pass Filter
• HALL REVERB The programs are generally based (or modeled) on larger acoustic spaces, have longer pre-delays, decay tails
and initial reflections, more complex regeneration algorithms and are a little darker in both initial reflection and decay tail. They
are commonly used to expand the sound stage of the instrument by emulating the reflections of a larger room (like a concert hall),
adding more (and more complex) time offset to the generated reflections. Because the time offsets are longer, it’s helpful not to
use too much of this program in a mix, especially with long reverb times and a high setting of parameter 2’s low pass filter (LPF).
For this reason, HALL may not be the best choice for delicate, complex playing with a lot of detail or reproduction of rhythmic
styles with a lot of percussive punctuation, such as Flamenco guitar or slap and hammer-on styles, as it can “pull the time down”
and add a “dragging” effect. For a natural sound, a little bit of hall reverb can go a long way, so less is generally more unless
that is the specific effect that you are going for. For the HALL program, the PARAM controls, left to right, adjust these elements:
PARAM 1: Reverb Time
PARAM 2: Low Pass Filter
PARAM 3: High Pass Filter
PARAMETER CONTROLS
These three controls, as mentioned above, control specific and different functions in the three
Effects programs. For redundant reference, here is a listing of their functions:
• REVERB:
Parameter 1: controls the amount of chorus mixed into the main signal path, fully counter-clockwise is 0% and fully clockwise is 100%.
Parameter 2: controls the Chorus modulation time (rate), turning the control counter-clockwise lowers the modulation
frequency, turning the control clockwise raises the modulation time (rate).
Parameter 3: controls the amount of reverb mixed into the main signal path, fully counter-clockwise is 0% and fully clockwise is 100%.
• ROOM and HALL REVERB:
Parameter 1: controls the Reverb Time. Within this parameter, the regeneration or feedback of the reverb is automatically
shortened slightly as the reverb time increases to preserve the natural sounding emulation of the acoustic space.
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