Mesa/Boogie California Tweed 6V6 2:TWENTY, Руководство пользователя, Страница: 14 / 36

Again, this is just to give you an example of the concept. The offset differences might be greater or less
depending on guitar, speaker cabinet, room, live mics on stage, outdoors vs. indoors, etc., but the concept
should serve you well.
And finally, the nice thing about the BASS control is that it’s the least affected by other tone controls and really
the GAIN is the only control you will need to consider with it as far as avoiding less than optimum sounds. Unlike
the TREBLE, MID and PRESENCE, which share the top end duties across a wide spectrum from high midrange
all the way to the harmonic region above what the TREBLE and PRESENCE affect, the BASS is a one stop shop
in terms of dialing in rich low end.
PRESENCE
This control adjusts high frequencies above those of the TREBLE, is located farther downstream in the signal
path than the standard tone controls, and adjusts top end response in the power section. You can think of the
PRESENCE as a control that allows you to either clamp down the highs in the power amp - compressing and
darkening the sound - or open it up and let the full spectrum of upper harmonics come chiming through. It
also has a great deal to do with how dynamic the signal is and again, how a sound will cut through the mix in
an ensemble environment.
At low settings (7:30–10:30) the sound will be warm and round with a more compressed feel and dynamic
attack, especially in the upper frequencies that add urgency, will be softened and “limited”. As the PRESENCE
is increased (11:00–2:30), the top end starts to become more dominant and that compression gives way to “cut”
and dynamic peaks jump out with speed and accuracy.
At the top end of the control (2:30–5:30), an aggressive blend of upper harmonics dominate the sound and this
region can be somewhat dangerous if it’s not applied in small measures. Higher notes will slice and dice even
the bravest set of ears and we suggest using this region mostly in the studio for recording where the sound
can be isolated and applied in context. Even then, you may find its most appropriate applications on parts that
feature the lower strings. This highest region – especially when coupled with the inherent curve of many of the
microphones typically used in P.A. (sound reinforcement) applications, can be punishing in the wrong hands,
so be cautious and courteous to your band mates and audience and dial the PRESENCE with care.
Clean sounds often benefit from a bit higher PRESENCE settings (10:30–12:30) more than sounds that have
overdrive involved in their makeup. Once saturation begins, the frequencies carried in the PRESENCE control
can make things edgy or brittle… even buzzy, if you aren’t careful. Similarly, overdriven chording sounds can
usually tolerate higher PRESENCE settings (10:30–12:30) better than single note playing, which usually wants
to roam the zone below 11:00 to stay round, focused and vocal.
NOTE: As mentioned earlier, the entire top end spectrum is shared among the TREBLE, MID and PRESENCE,
each having its own region, power (effectiveness) and character in the overall signature of the top end. When
dialing in your sounds make sure to use all three of these controls to balance the different frequencies and
achieve the best blend and feature the most pleasing top end.
MASTER
This control determines the overall output level and is located at the very end of the preamp. By using it in
combination with the GAIN control, any amount of preamp signal strength – gain – (within the California Tweed’s
traditionally-oriented gain parameters) can be achieved at any playing volume. Once you have dedicated the
GAIN control to the desired type of sound, clean or overdriven, you can then balance the volume level using
the MASTER control.
In addition, the MASTER, along with the setting of the GAIN control way upstream, functions as an EFFECTS
SEND level control for the EFFECTS LOOP. The levels have been optimized at the SEND to accommodate the
widest range of usable sounds, so you will never likely know all the trouble we go to in making sure not only do
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