Mesa/Boogie California Tweed 6V6 2:TWENTY, Руководство пользователя, Страница: 13 / 36

For gained-up sounds at the top of the GAIN control a similar story unfolds as the MID is increased. Lower settings
(7:30–10:30) will produce wider sounding, more elastic feeling chording sounds and the single notes will have
a creamier, smoother character. High harmonics created by the gain and controlled largely with the TREBLE,
will put a patina of three-dimensional, harmonic-enriched haze on things and will allow them to “smear” nicely.
As the MID is increased past the 10:00 range, cut and bite begins to creep in along with a more chesty midrange
punch. This is where, depending on guitars and pickups, you may approach some classic “almost-70s “Crunch”
chording sounds. The MID kick found here is an integral part of the impact and tight-tracking accuracy of iconic
medium-gain sounds that have been Rock staples over the last five decades. The preamp is traditional in nature
and therefore, not able to go all the way to what we think of today as “Crunch”, but reducing the power to the
lower wattage settings (10 watt and 1 watt) can expand the available gain range, albeit in the power section,
and therefore of a different character.
Passing 1:00 on the MID unleashes the brash attitude and top end also joins the party. Here is where you look
for the most forward and aggressive attack over a wider range than that found in the TREBLE control. The feel
on the strings will become less forgiving and your playing will be put under a microscope in the time domain,
but if it’s cut and punch you need, this is a great place to find it. This region is great for pushing Rock rhythm
sounds to the forefront of a mix. Single note solo sounds in this range on the MID will be fast and accurate and
certainly notes will have a definite point of origin in the bar line.
One suggestion… the MID control contains frequencies that can be a little tough on the ears at times. You might
be surprised how much impact – and along with it possibly even unpleasantness – can be dialed in with higher
settings of the MID. The TREBLE and PRESENCE as well. Unless you are out to hurt people, which is never a
good idea, you may find the middle to lower range of the MID gives you plenty of attack and definition, yet still
sounds balanced and warm and allows others to enjoy your playing without wincing at every note.
BASS
The BASS control blends in a fairly wide region of rich bottom end to round out the sound. Being an amp that
needs to have luscious clean sounds as well as traditional Tweed clipping potential, we have taken liberties
with tradition to expand its usefulness and enrich its character for the bottom half of the GAIN control. This
was one of our biggest challenges in the development of the California Tweed and once dialed in, became
one of our proudest achievements: to have response similar to Blackface architecture at the low end of the
GAIN control, yet more Tweed-like response once the GAIN is increased past 12:00 noon. Much of this trick is
achieved through diligent work with the BASS region of the circuit and associated tone control string, the rest
is dependent on overall gain structure and its perfection. The end result is a traditional-voiced amp that does
double duty shockingly well and is something we have long dreamed of, but never before experienced in real
classics or “Vintage-styled” amps.
A great sound will always be dependent on a good ratio between the GAIN and BASS controls. Depending on
the setting of the GAIN control and guitars employed, generally speaking cleaner/less saturated sounds (lower
GAIN settings) can handle higher BASS settings. More saturated/overdriven sounds (higher GAIN Settings)
will require lower BASS settings for the best balance and an accurate, defined attack. Obviously there will be
times these suggestions won’t be relevant and also, whatever you do to the bottom end affects the top end
and vice versa, but these are good general guidelines for many great sounds.
You will have to experiment with your own instruments, however the scenarios below provide guideline examples.
If you at least begin with this simple common sense approach: as GAIN goes up - BASS should come down,
you’ll find great sounds easily and quickly.
Examples:
GAIN at 12:00 – BASS at 1:00 GAIN at 1:00 – BASS at 12:00 GAIN at 2:00 – BASS at 11:00
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