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Effects Loop (Lead Channel 2)
Once the basic connections have been made you may want
to experiment with the effects loop that is built into channel-2.
Inserting effect pedals into the lead channel can add a huge
amount of versatility. The possibilities are about as endless as
there are pedals. Insert an echo or reverb to expand the acoustic
space. Try a phaser or chorus to set your solos apart from the
rhythm channel. Or place all your pedals in the Trimode's effects
loop and start experimenting with combinations of effects. This
feature can be exploited to achieve a unique lead tone with
professional results.
To use the Trimode’s effects loop you will need an insert cable.
Insert cables are commonly used to insert an effect into the
channel of a mixing console. An insert cable uses a TRS ¼”
connector (set up as tip=send, ring=return, sleeve=ground) at
one end and two standard ¼” mono jacks at the other end.
After you have pedals inserted in the Trimode's effects loop, the
benefits will become apparent: You can prep several pedals and
engage them simultaneously along with your lead sound with
just one footswitch stomp. You can also remove noisy pedals out
of your signal chain until they are needed.
6
True to the Music
True to the Music
Radial Engineering
7
Radial Engineering
Classic Trimode
Classic Trimode
Insert Cable
Send -
effect input
Return -
effect output
Tip - Send
Ring - Return
Common ground
1/4" TRS
1/4" MONO
1/4" MONO
Output
Input
Insert Cable Return
Insert Cable Send
Mid Boost Switches
The Trimode’s rhythm and lead channels have been voiced
slightly differently to maximize their effectiveness. This is supple-
mented with a different 3-position MID BOOST switch for each
channel. In the OUT position, the switch has no effect. On chan-
nel-1, you can boost the 4dB and +8dB @ 390Hz re-
spectively, while on channel-2, the mid boost can be set at +9dB
or +20dB. The mid boost is one of the most beneficial functions
built-in the Trimode. Adding mid boost to your distorted tone will
make it sustain longer and help you cut through the mix.
TRIMODE TONE CONTROLS
Top End Switch
The TOP END switch controls the Trimode's overall high
frequency response. It has three settings; DARK, FLAT and
BRIGHT. Start with the FLAT setting and experiment with the
Trimode’s powerful HIGH and LOW EQ. If you have an overly
bright amp, you may end up with the DARK setting. On the other
hand, if you are looking for that big ‘scooped’ chunky tone, you
might increase the LOW EQ control to 5 o’clock and set the TOP
END switch to BRIGHT. Use your ears and have fun!
Filter Control
The FILTER control is like an "anti-presence" and is used to
tame bright-sounding amps. It also reduces the high end that
can be brittle when recording direct. Turning the FILTER control
counter-clockwise rolls off high frequencies. The full clockwise
setting removes it from the signal path.
Treble and Bass Controls
The HIGH and LOW controls are active EQ controls that come
after the distortion circuit. The 12 o’clock position is neutral or
“flat”. The HIGH control is capable of boosting or cutting the
signals by 10dB at 4.3kHz. The LOW control boosts or cuts the
signal by 14.5dB at 100Hz. These are very powerful EQ controls
and small adjustments will make a big impact.
Note: While you are working with the Trimode, keep
in mind that all the controls interact together. This
means that when you add bass or treble, the perceived
loudness will be affected. The Trimode is designed to
allow you to create your own distinct tone by working all
of the controls together to find your personal sweet spot.
Because of the Trimode’s amazing interactive EQ, it is
almost impossible to find a bad or unusable tone. Take
your time, listen and test the extremes. This can lead to
all kinds of fun settings. So that you may recreate these
tones again, record them on the tone charts provided in
the back of this manual. There are so many possibilities
that it is worth taking the time to experiment!
