Mesa Rosette 300 Two:Eight, Руководство пользователя, Страница: 12 / 30

better scaling for a wider variety of instruments, pickup levels, player styles and/or techniques, and effects, which improves signal to
extraneous noise performance, though certain individual circumstances might dictate otherwise.
BASS CONTROLS
This active EQ control is responsible for the amount of low frequencies present in the signal, relative to
the rest of the spectrum. Low frequencies (150Hz and below) are responsible for the bottom-end roundness, fullness and “feel” of
the tone. These are active controls with boost and cut, the amount of boost proportional to the clockwise rotation to the right of “flat”
(12:00 straight up) position, and the amount of cut proportional to the counter-clockwise rotation to the left of “flat” (12:00 straight
up) position. As with everything related to EQ, generally, a little bit goes a long way. Use enough to get the job done and no more.
Note that if you are experiencing low frequency woofiness, or tubbiness, try turning this control down a little bit. This is a shelving
style filter. It will be helpful to first fine tune the response with the variable HI-PASS FILTER before using the BASS EQ control, as
often a combination of the BASS EQ and HI-PASS FILTER is more effective than applying only one of these low frequency controls.
LOW MID & HIGH MID CONTROLS
These Active EQ controls are responsible for the amount of LOW and HIGH
MIDRANGE frequencies present in the signal, relative to the rest of the spectrum. Like all semi-parametric tone controls, they are
comprised of the GAIN control that determines either a cut or a boost of the selected Frequency range from a 12:00 “flat” (neither cut
or boost) setting, and a FREQUENCY control that allows selection of the frequency you wish to control within a wide and adjustable
range. For thoroughness if not redundancy, let’s review the suggestions in the earlier HELPFUL HINTS section of this Manual to
better understand the easiest way to use these powerful semi-parametric controls.
SUBTRACT FOR TONE! SETTING THE SWEEPABLE MIDS
Recording and live sound engineers have long known that, when searching for a great sound, removing what you don’t want works
far better than boosting what you find pleasing to achieve a balanced sound. This method reduces noise floor, avoids clipping and
produces better overall results than trying to boost frequencies. Don’t frustrate yourself by ignoring this time-proven Golden Rule of
Audio and you will arrive at great Tone quickly and easily.
LOW MID BAND: With the BASS set at 10:00 and the TREBLE set at 11:00, set both LOW and HIGH MID FREQUENCY Controls
all at NOON. Increase the LOW MID GAIN to 2:00 and sweep the LOW MID FREQUENCY back and forth from 12:00 until you hear
a frequency you do not like and stop there. Then, reduce the LOW MID GAIN until you reach a desired blend, keeping in mind you
do not want to remove too much of that frequency, or the sound will be unnatural.
HIGH MID BAND: Repeat the same procedure with the HIGH MID FREQUENCY 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 will be
unnatural. Usually a MID GAIN setting of 11:00, sometimes as low as 10:00, should remove enough of the unwanted frequencies.
LOW MID FREQUENCY provides control over frequencies between 150Hz and 1800Hz and these regions are responsible for the
“earthy” or “woody” character of the tone. HIGH MID FREQUENCY gives you a range of frequencies between 300Hz and 5000Hz to
work with and these frequencies are responsible for the “attack” or “biting” character of the tone. These are Active controls with boost
and cut controlled by the LOW MID GAIN and HIGH MID GAIN controls, the amount of boost proportional to the clockwise rotation
to the right of “flat” (12:00 straight up) position and the amount of cut proportional to the counter-clockwise rotation to the left of “flat”
(12:00 straight up) position.
NOTE: Keep in mind that with the GAIN control in the “flat” (12:00) position, there will be no difference heard when sweeping the
corresponding FREQ control to that because there is no cut or boost being applied in that band.
This style of control is referred to as a peak-dip (or bell) style filter. Here in the Rosette, the pair that comprises the MID controls of-
fers accuracy and flexibility only found on fully professional recording or live sound mixing consoles. It may take a minute to become
familiar with the level of control and power they provide in shaping your sound, but if you start with the basic procedure outlined above,
you’ll be dialing in great tones for all your instruments with ease and confidence before you know it.
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