Mesa Rosette 300 Two:Eight, Руководство пользователя

Страница: 6 / 30

O
verview
: F
rOnt
P
anel
ACCURACY FIRST, EMBELLISHMENT WHEN DESIRED
Our goal with the Rosette Series was clear from the start and our commitment to excellence has guided us to what we feel is the
FIRST ACCURATE Acoustic Instrument Combo Amplifier and DI Preamp/Pedal.
In Rosette, we opted for architecture straight from high-end recording console designs. We developed Input stages that were not
the typical, compromised dual-purpose circuits fed by universal XLR+1/4” combo jacks found on many acoustic amplifiers in the
marketplace. Instead, we chose dedicated, time-tested designs, proven over decades of great recordings, to deliver the uncompro-
mised, accurate truth.
In the MIC Input of Channel 1, a rugged, professional XLR jack uses a dual discrete transistor pair for the trans-conductance Input
stage. Because microphones are low impedance transducers, the noise current specification must be at the top of the design list for
the best noise performance and Tone.
Channels 1 and 2 feature duplicate ¼” mono PICKUP Inputs with input stage circuitry optimized for the impedance requirements of
today’s (and yesterday’s) popular acoustic guitar pickups. A current source biased FET input stage was selected for this application
as high impedance transducers require the noise voltage specification be the first consideration for optimal performance and Tone.
This purpose-built, no-compromise approach to the connection of your instrument pickup to the Input stage of the amp clearly states
our mission with the Rosette Series. While it may look different from the crowded field of less sophisticated offerings in the marketplace,
it is by far the proper and professional way to get the absolute best from the all-important instrument/pickup/amp input connection.
Tone begins, and can end, at the Input Stage. We’re not about to let the latter happen on our watch.
Note that the lower Channel (2) may be used with a Microphone by using a standard Line Matching Transformer available at most
Music Stores for a nominal charge. While Input circuitry is not quite as optimized as it is in Channel 1 for this application, it is still
superior to the IC based Input Stages found in many other brand’s acoustic offerings. And the EQ Section being what it is in terms
of quality and comprehensive control means that Channel 2 delivers an excellent result in times when you need this added flexibility
regarding Inputs.
PICKUP PHASE
PICKUP INPUT
PICKUP INPUT
CH 1
CH 2
MIC INPUT
PLAY
MUTE CLIP
IN
OUT
IN
MIC / PICKUP PHASE
PLAY
MUTE
MIC PICKUP
PHANTOM
CLIP OUT
HI-PASS FILTER FX SEND PICKUP
GAIN
BASS GAIN FREQ GAIN FREQ
HIGH MID LOW MID
TREBLE
TREBLE
PARAM 1 PARAM 2 PARAM 3
GAIN
150 HZ 1800 HZ
150 HZ 1800 HZ
HI-PASS FILTER
40 HZ 200 HZ
40 HZ 200 HZ
FX SEND
MIC / PICKUP
GAIN BASS GAIN FREQ FREQ
300 HZ 5000 HZ
300 HZ 5000 HZ
FX MASTER MASTER
CHORUS
ROOM REVERB
HALL REVERB
LIMIT
FX
BYPASS
PROTECT POWER
LOW MID HIGH MID
300 / TWO:EIGHT
R
OSETTE
ROSETTE
®
ACOUSTIC AMPLIFIER
Do not expose to rain, moisture
or thieves.
MADE IN PETALUMA, CA WITH THE WORLD’S FINEST MATERIALS
HEAD
PHONES
SPEAKER
OUTPUT
MUTE
FTSW
FX BYPASS
FTSW
FX
RETURN
FX
SEND
AUX
INPUT
150 WATTS/8 Ω
300 WATTS/4
Ω
(4 OHM MIN LOAD)
8-32 OHMS CH. MUTE / TRS
(TIP=CH 1) (RING=CH 2)
MONO
(TIP=BYPASS)
EXT. FX IN
(LINE LEVEL)
EXT. FX OUT
(LINE LEVEL) LINE LEVEL
(MONO / STEREO)
LEVEL
LINE
PIN 1
LIFT
MIC
LEVEL
LINE
CHANNEL 2
CHANNEL 1+2 (POST EQ/FX)
CHANNEL 1
MIC
SOURCE
POST EQ
PRE EQ GROUND
PIN 1
LIFT
GROUND
LEVEL
LINE
MIC
SOURCE
POST EQ
PRE EQ
PIN 1
LIFT
GROUND
PHANTOM POWER
PROTECTED
DIRECT OUTPUT
POWER
OFF ON
MAX AVG PWR CONSUMPTION 250W
MAINS FUSE: INTERNAL T4A/250V
h
AMPLIFIER
44YV
100V-240VAC
~50/60HZ
INPUT
POWER
RATED
POWER
PAGE 2
FRONT VIEW: 300 / TWO:EIGHT ROSETTE™
REAR VIEW: 300 / TWO:EIGHT ROSETTE™