Mesa Rosette 300 Two:Eight, Руководство пользователя

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Rosette specific Mute footswitches separately through our Authorized Dealers and Distributors, our Parts & Accessories Online Store,
or by contacting our Customer Service department.
The FX BYPASS FTSW Jack accepts a mono ¼” cable and Tip to Ground ON/OFF footswitch to bypass the internal Effects and/
or any external effects that may be inserted in the FX Loop. MESA sells FX bypass footswitches separately through our Authorized
Dealers and Distributors, our Parts & Accessories Online Store, or by contacting our Customer Service department.
Next up are the FX LOOP SEND & RETURN Jacks. These mono jacks are provided as a Parallel Loop interface for connecting
external effects processors and pedal effects between the amp’s preamp and power section. Both the SEND (Output) and RETURN
(Input) are optimized for a Line Level signal, so external processors should have their Input and Output configured for the same signal
level whenever possible. The FX SEND level is controlled by each channel’s Front Panel FX SEND control. The FX SEND can also
be used as an additional ¼” Line Level Output when nothing is connected to the FX RETURN Jack.
The AUX INPUT is provided to allow connection of external music sources through your Rosette amplifier such as a CD player, mobile
device, drum machine, and computers or DAWs used for audio playback and accompaniment. Use the device’s volume control to
achieve its desired listening level in balance with your instrument as all controls except the MASTER are inactive in this signal path.
Finally, the Rosette features a comprehensive, studio-quality DIRECT OUTPUT Section. Channel 1 & 2 have dedicated XLR Outputs
with PRE/POST EQ, MIC or LINE LEVEL and GROUND or PIN 1 LIFT switches. Additionally, a third XLR Jack delivers a properly
summed output of both channels preset to POST EQ and switchable between MIC & LINE level. Beyond its thorough features and
thoughtful layout, it’s the great TONE and exceptional low noise of Rosette’s DI Outputs that sets it apart from the competition. For
live and recording, Monitor, Front of House and Recording engineers will thank you when they hear the clean, quiet and accurate
signal the Rosette DI delivers. This comprehensive, Toneful DI is nearly worth the price of admission alone, especially as the signal
that feeds your acoustic voice to live venues and recording applications with something as important as your music.
INSTANT GRATIFICATION
The ROSETTE
®
is a professional and comprehensive amplifier for acoustic instruments. Once
dialed in to your preferred settings, the amplifier is essentially ‘set and forget’ while still allowing for a wide range of tones and adjust-
ments for different instruments, applications and venues. Start with the MUTE SWITCH down (mute off), the PHASE SWITCH down
(in PHASE), the FX SEND off (7:00), and the four EQUALIZER controls (BASS, LOW MID GAIN, HIGH MID GAIN and TREBLE) in
the “flat” (12:00) position (LOW & HIGH MID FREQUENCY control positions won’t matter with the MID GAIN set flat). Choose the
channel you want to use and set the GAIN control no higher than 10:00 and the MASTER VOLUME control between 11:00-1:00
(11:00 if playing quietly and 1:00 if louder or for live performance, etc.). Increase the GAIN control until you feel a nice balance is
achieved between headroom and fullness, usually around 11:00 – 1:00 depending on your instrument’s output level. Increase the
MASTER if needed to reach the desired playing volume. Higher GAIN settings may increase the potential for feedback or unwanted
clipping and distortion.
If you want to use effects, select an effects program from the three choices, set the EFFECTS MASTER control to the 1:00 position
and gradually rotate the FX SEND control clockwise on the channel you’ve plugged into to add effects to the overall sound. Now, it’s
just a matter of setting the EQ to taste and fine tuning the EFFECTS PARAMETER controls.
SUBTRACT FOR TONE! SETTING THE SWEEPABLE MIDS
Recording and live sound engineers have long known that removing what you don’t want works far better than boosting what you do
want 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 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 don’t want to
remove too much of that frequency or the sound may be unnatural.
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