Mesa Rosette 300 Two:Eight, Руководство пользователя

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TREBLE CONTROLS
This active EQ control is responsible for the amount of high frequencies present in the signal, relative
to the rest of the spectrum. High frequencies above 5kHz are represented here and these are associated with the “bright”, “airy”,
“shimmery” character of the tone. This is also an Active control with boost and cut style power, the amount of boost proportional to
the clockwise rotation to the right of the “flat” (12:00 straight up) position and the amount of cut proportional to the counter-clockwise
rotation to the left of the “flat” (12:00 straight up) position. If the sound is perceived as too bright, thin or brittle, try turning this control
down a bit. This is a shelving style filter meaning that the frequency range covered is a bit broader and it is fixed rather than adjust-
able like the HIGH and LOW MID Band semi-parametric style controls.
FX MASTER
This control adjusts the overall master effects level coming from the DSP engine that is being mixed back into the
dry signal path before the final MASTER (level) control. As mentioned in the Helpful Hints, in general, start by setting this control
so that the FX SEND control falls within the 10:00 – 3:00 range, as this will achieve the best relationship between noise floor and
dynamic range.
NOTE: High levels of effects, whether achieved by high settings of the FX SEND or the FX MASTER, can increase the possibility
of feedback and unwanted noise. It can also make the sound indistinct (less accurate and/or articulate) and unnatural. For optimum
performance, apply effects, whether internal or those in the External Loop, with taste and care. Your technique, your performance,
the audience and the engineer mixing (if applicable) will all appreciate your restraint and good judgment.
MASTER
This control is responsible for the overall mix containing both channel’s preamp settings being sent on to the power
amp and thus, determines the overall playing volume of the amplifier. Using the upstream GAIN controls in combination with the final
MASTER control creates the network responsible for your response and your volume. For example, if you are using an instrument
with a very high output level, it will be likely be necessary to set the MIC GAIN or INSTRUMENT GAIN control a little lower and maybe
increase the MASTER control a little to obtain a reasonable playing volume and avoid overdriving the input stage. Similarly, if you
have an instrument with very low or weak output level, it will be necessary to turn the MIC GAIN or INSTRUMENT GAIN control up
higher and perhaps set the MASTER control lower to obtain the desired playing volume.
In other words, the volume and the response will both be determined by the relationship between these two controls (GAIN and
MASTER) and their relative setting to one another. Generally speaking, the sound will be brighter, more open and more bouncy with
the GAIN in its lower regions and the MASTER set a little higher. Conversely, with higher GAIN settings and lower MASTER settings,
the sound is usually fuller, richer and warmer, and has a little less emphasis on the sparkling top end.
Just remember that with Acoustic instruments, volume level and proximity to the source are ALWAYS factors in how prone the guitar
or instrument is to feedback. Remember to use the MUTE switches when powering up and/or taking breaks, and to avoid excessive
volumes when you must be physically close to the amplifier.
NOTE: Also, as mentioned earlier in the HELPFUL HINTS, try to keep the amplifier on the floor below your chair height or at least,
lower than the relative height to the instrument’s Sound Hole(s) when playing standing up. This will also help greatly in avoiding
feedback from proximity to the instrument’s resonating cavity, regardless of its size.
EFFECTS CONTROLS (On-Board Processing Suite)
This switch selects which of the three effects programs (also known
as presets or algorithms) is being utilized from within the on-board Effects Suite. With the switch in the “DOWN” position, the HALL
Reverb program is selected, setting the switch in the “MIDDLE” position calls up the ROOM Reverb program, and with the switch in
the “UP” position, the layered combination (Room) CHORUS program is activated.
The three small controls to the right, labeled PARAM 1, 2 and 3, offer adjustment of specific and different parameters within these
programs. The specific tasks are outlined below at the end of the descriptions of each of the Effects (programs) themselves.
• CHORUS This program layers the ROOM REVERB and a CHORUS program. The PARAM controls allow for
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