
12
4. P
OWER
A
MP
C
ONTROLS
PRESENCE Control
This control allows you to adjust the amount of Presence (high frequency “spar-
kle”) in your sound. Like all of the preamp knobs we’ve just looked at, the PRES-
ENCE control
is
programmable.
NOTE:
Presence is a function of a power amp containing a negative feedback circuit
and not all the original amps we modeled contain one - for example, none of the four
Vox amps we modeled (AC15, AC15TB, AC30 & AC30TB) feature a negative feed-
back circuit. Furthermore, FYI, not all amps that have a negative feedback circuit
necessarily feature a Presence control. For example, the original BLACK 2x12 - neg-
ative feedback in the power amp? Yes. Presence Control? Nope.
Whenever a modeled amp didn’t have a Presence control, rather than have
this knob do absolutely nothing, we used it to mimic the behavior of another of the
amp’s variables - like the BRIGHT switch on a BLACK 2x12 or the CUT control found
on all of the VOX originals. See page 39 for more details on exactly what the PRES-
ENCE control does on each model.
MASTER (Volume) Control
As is the case with all Master Volume controls, this knob enables you to adjust the
overall volume of your Valvetronix combo.
VERY IMPORTANT NOTE:
The MASTER (Volume) Control is NOT programmable.
C
OOL
‘
N
’ I
MPORTANT
A
SIDE
:
The Valvetronix Virtual FX loop
.
he next three areas we’re gonna look at are the MODULATION, DELAY &
REVERB sections of your amp. And, just so you know, all three of ‘em are placed
in a “virtual FX loop” - namely, in between the preamp and power amp. Why?
Because that’s where such effects are generally placed in the vast majority of profes-
sional guitar rigs - in the FX loop, that’s why! Wanna know more? Good, read on...
The reason why such effects are invariably set-up in the FX loop rather than in
front of the amp as a “stompbox” is simple. To most people’s ears, they sound better and
more realistic when placed in the loop. Think about it - REVERB emulates the sound cre-
ated by a room or a hall. So, logic dictates that if we’re going to add it to our sound, the
closer to the end of the signal chain we put it, the more “real” and natural it’s gonna
sound. Ditto DELAY (duh!) and many MODULATION effects too - their very nature dic-
tates that they should be added near the end of your signal path, not at its beginning.
Geddit?
T
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