APPLICATIONS
You can have the best clean, rhythm and lead tones right at your feet. For best
results, we suggest the following:
WITH GUITAR AMPS:
Run the output of the TRI-O.D. directly into the input
of the power amp input, a.k.a. “effects return,” (if applicable) of an amp.This will
bypass the tone coloring section of the pre-amp. Otherwise, run the TRI-O.D. into
the front input of an amp. (See
Noteworthy Notes
section.)
TO DRIVE A POWER AMP:
Run the output of the TRI-O.D. into the input of a
power amp and use the master
Volume
control to adjust your stage volume.
TO RECORD DIRECT:
You can plug directly into the input of a mixer/
recorder and use the on-board sounds of the TRI-O.D. or just the
Speaker
Simulator Mode
by itself with a pre-amp, fuzz box or other effect boxes. Bear in
mind full-range systems yield a wide frequency response.Therefore, we suggest
you start with the TRI-O.D.’s EQ levels at 12 o’clock and increase/decrease, with
restraint, to taste.
GUIDE TO CONTROLS
3 TUBE AMP CHARACTERS / 3 INDEPENDENT CHANNELS
Tweed =
Fender®-style
California =
Mesa/Boogie®-style
British
=
Marshall®-style
Each channel is pre-voiced with the specific characteristics of the 3 most coveted
tube amp sounds. Switching between channels changes the entire sound, not just
the gain structure and EQ.
Each channel has its own
Drive
and
Level
controls.These controls are atypically
sensitive and need not be set at max for maximum results.
DRIVE
adjusts the overall amount of gain and overdrive, similar to when the
output section of a tube amp is being pushed. NOTE: The louder your stage
volume, the less overdrive may be needed for sustain. Best results are
achieved when used sparingly at first, and then adjusted to taste.
LEVEL
adjusts the relative output level of each channel --without altering any
of the tonal characteristics.These controls are designed to be set
relative to
each other.
Use the master
Volume
control to adjust the overall volume. (We
recommend setting the
Master Output Section
controls at 1 o’clock to initially
determine desired
Level
settings, then adjusting to taste.)
®Fender, Mesa/Boogie and Marshall are all registered trademarks of their respective companies.
Each channel can be turned off so you can designate which tube amp characters
you want to switch between: all 3, 2, just 1, or even none.
# OF CHANNELS ON
SWITCHING SEQUENCE
3
x - y - z
,
x - y - z
, etc.
2
x - y - Bypass
,
x - y - Bypass
, etc.
1
x - Bypass
,
x - Bypass
, etc.
0
Speaker Sim-Bypass
,
Speaker Sim-Bypass
, etc.
MASTER OUTPUT SECTION
BASS & TREBLE
Unlike passive controls that can only cut, these
active
tone controls cut or boost
±12dB.This powerful EQ section effectively reduces the need for a fixed frequency
mid control and enables you to achieve an extensive variety of curves --including a
“mid-cut” as well as a “mid-boost.”
The TRI-O.D.’s mid-range level is preset.
Boosting
Bass
and
Treble
gives you the
equivalent of a “mid-cut” where the relative mid-range level is lower than the
Bass
and
Treble
frequency levels.
Cutting
Bass
and
Treble
is the equivalent of a “mid-
boost” where the relative mid-range level is higher than the
Bass
and
Treble
fre-
quency levels. NOTE: The overall output level will change in relation to the adjust-
ments you make with the EQ controls.You can compensate accordingly with the
master
Volume
control.
VOLUME
After setting the individual channel
Levels
appropriate to each other, the master
Volume
control adjusts the overall output level to be suitable for any occasion--
gigging, rehearsing, jamming, recording.
Suggested Initial Set-Up:
See cover illustration. Adjust to taste.
NOTEWORTHY NOTES:
-When using the input of an amp, keep the TRI-O.D.’s level close to unity gain, so
as not to overload the amp’s input, which could result in undesirable distortion.
-When running into the power amp input of an amp or a power amp alone, adjust
the Volume as needed. (If you are so inclined, this is the time to crank it!)
