Demeter Amplification | TGA-2.1 User Guide
5
Front Panel Operation
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Power/Standby Operation :
When powering up any good tube amplifier, the POWER SWITCH should
be engaged FIRST (pilot lights up) to warm up the power tubes. This is known as STANDBY mode. By
letting power tubes warm up gradually, they last longer (more on power tubes later.) Wait anywhere from
1 to 10 minutes before turning off STANDBY (in the tradition of early Fender amps, STANDBY mode is
when power is ON and the STANDBY SWITCH is in the opposite direction from the POWER switch.
To turn the amp the rest of the way on, throw the STANDBY switch so it’s in the same direction as the
POWER switch.)
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Return & Send Controls :
SEND controls the level of signal coming from the PREAMP section and into
your eff ects. (If no effects are connected to the EFFECTS LOOP, SEND and RETURN controls have no ef-
fect.)The output of your effect or effects chain goes to the RETURN jack (back panel) and the effect output
level is controlled by the RETURN knob. This patch point puts ambient effects (reverb, flange, delay, etc.)
where they will sound best – after the PRE AMP and before the POWER AMP (see appendix.)
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Presence Control :
Feeds inverted signal back into the main signal path, reinforcing certain fre quencies.
It adds a subtle, glistening quality to the tone. This control makes a small amount of static-like noise when
rotated – this is normal. PRESENCE tends to brighten the signal – for a darker tone, turn this DOWN.
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Bass, Middle and Treble Controls :
In common with most modern and many vintage guitar amps, these
controls GLOBALLY shape the TGA-2.1’s tone, which means they are interactive. (For example, play high
notes while turning the BASS knob. Try the same thing with both low and high notes while turning the
MIDDLE knob.) Shaping your tone is a subtle balance among all FOUR tone controls, along with GAIN,
MASTER, and the PENTODE/TRIODE switch. The tone controls are shared between the 2 channels
and all settings. They are cut-and-boost type controls. Center position (5) is essentially flat; turning up
(toward10) boosts that frequency band. Conversely, turning a control down cuts that control’s level. First,
rough in your tone, then fine tune it.
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Master Control (Channel 2) :
This controls both EDGE and SOLO channel gain, ‘roughing-in’ the output
level. This also has a pull-switch on the knob, which engages a tube-driven version of Demeter’s famous Fat
Control, providing a midrange boost (makes single-coils sound like humbuckers.)
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Solo Gain (Channel 2) :
Controls the gain of the solo channel.
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Edge Gain (Channel 2) :
Controls the gain of the edge channel.
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Master Control (Channel 1) :
Channel 1 has a glassy, shimmering range of tones, from sparkling clean with
lots of headroom, to very Tweedy, with dynamic response like vintage Fender amps and early un-modified
Marshalls. In TRIODE mode, the sound gets even more ‘vintage.’
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Clean Gain (Channel 1) :
Controls the gain of the clean channel. This control also has a pullout BRIGHT
switch, for even more classic spank.
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Input :
That’s right, you guessed it : this is where your instrument plugs in.
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Channel Switch :
Switches channels manually. (IMPORTANT!): THIS SWITCH MUST BE IN THE
CENTER POSITION TO USE THE FS-2 FOOTSWITCH.
