Mesa Rosette 300 Two:Eight, Owner'S Manual, Page: 9 / 30

HIGH MID BAND: Repeat the same procedure with the HIGH MID Control; Increase the HIGH MID GAIN to 2:00, sweep the HIGH
MID FREQUENCY back and forth from 12:00 until you hear a frequency you do not like and stop there. Then, reduce the HIGH MID
GAIN until you reach a desired blend, keeping in mind not to remove too much of that frequency or the sound may be unnatural.
Usually a MID GAIN setting of 11:00, sometimes as low as 10:00, should remove enough of the unwanted frequencies.
HELPFUL HINTS
Once you get your basic tone dialed in, flip the PHASE Switch in and out to sample the difference the phase
relation can make. Sometimes the PHASE REVERSE position will sound better, or may assist in eliminating feedback in certain
environments, pickup configurations, or mixes. With the PHASE switch, there isn’t a right selection, just the one that sounds best.
Always use the MUTE switch to connect or disconnect cables, change instruments and when getting up and walking away from
your instrument while still connected and with the amplifier on. Instruments left near the amplifier (when ON) may have a tendency
to feedback. The MUTE function can also be accessed remotely via a standard latching footswitch connected to the MUTE FTSW
jack located on the rear panel. The front panel MUTE toggle switches must be in the down (PLAY) position for the remote footswitch
functions to work properly.
THIS IS NOT AN AMP AIMED AT SOLID ELECTRIC INSTRUMENTS, BUT RATHER ONE OPTIMIZED FOR ACOUSTIC INSTRU-
MENTS WITH ON-BOARD MICS and ACOUSTIC OPTIMIZED PICKUPS. To address or minimize feedback issues, position yourself
with the Rosette facing off axis from the instrument (not pointing directly at you/the instrument). It’s also helpful to be at least several
feet from the amplifier, with the speakers never pointing directly at the guitar or instrument. This scenario will dramatically reduce
the potential for feedback and/or sympathetic interference and also allows you to hear the sound more realistically. It is easiest to
have an engineer or friend adjust the controls while you play, otherwise you may need to play, stop, walk over and adjust, play, stop,
walk over and adjust, etc. The best sound, loudest output and the least feedback potential will be achieved with the player being a
reasonable distance from the amplifier.
Speaking of feedback, the Rosette features a number of options for addressing feedback issues. The PHASE switch is always the
first quick option while the HI-PASS filter is the second quick option. HI-PASS controls feedback by taming excess low frequency
resonances and if your instrument is feeding back at a lower pitch, increasing the HI-PASS filter stands a very good chance of remov-
ing the offending feedback while maintaining the fullest possible sound. Setting the HI-PASS too high will remove body and warmth
from the sound of your instrument and more isn’t necessarily better. Use only as much as you need to control ‘boomy’ bass response
and low frequency feedback issues.
Finally, a more powerful 4-BAND EQ with two sweepable MID controls has been included rather than the more typical 3-BAND fixed
frequency EQ with a Notch Filter. A sweepable mid band operated in cut mode (subtracting unwanted frequencies) will do much the
same thing as a Notch Filter except that you are not limited to a fixed notch depth. In the Rosette’s MID GAIN bands, the notch depth
is variable from 0dB to over 12dB, meaning that you only have to use just enough to get the job done and no more. Using one band
to address a specific range of feedback frequencies will generally leave the other sweepable MID Band available for additional EQ.
If feedback isn’t an issue, then you have both bands available for your EQ needs.
The simple trick that the best sound engineers in recording and live performance use to make their instruments and mixes sound great
with sweepable controls will also work for dialing out feedback. When searching for a frequency that is causing feedback with your
instrument (or in your mix or playing environment), boosting the control GAIN slightly (1:00-2:00) of the frequency band you suspect
is the issue and then sweeping the frequency control will often reveal the unwanted frequency by simply making it that frequency
REALLY stand out! Once found, reduce that frequency’s GAIN control and, voila… feedback issue solved! As a nice side benefit,
you’ll almost always find that the overall tone sounds much better once you find and cut the offending frequency. Experimentation
and practice is key with this approach and it can be a musician’s best kept secret to getting great Tone in many different musical
applications – live performance and recording, especially.
Avoid facing the instrument, especially a guitar’s sound hole, directly at or into the amplifier’s Cabinet/Speaker Enclosure. Two unwanted
things can occur; feedback, similar to how a microphone pointed at a monitor responds… And also, the creation of a sympathetic
loop (another form of feedback) where the most prominent resonant frequencies of your instrument are amplified by the amp, and
picked back up by the instrument and it’s pickups, perpetuating that resonant frequency. This is not only the basis of feedback; it also
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