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As in most tube guitar amplifiers, the TREBLE Control (in all three channels of your Recto ) is the most power-
ful of the rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is first in the signal path of the tone
controls - and from here the Middle and Bass receive their signal - it is by far the
dominant tone control. For this reason the setting of the TREBLE Control is very
important for equal representation of the three frequency regions to appear at
their respective controls. Like most of the controls on your Recto, there is an
optimum region of the TREBLE Control where ample top end is mixed in and yet
enough signal is still passed on to the MIDDLE and BASS Controls.
As you might surmise, here is the sweet spot. There are definitely great sounds
above and below this middle region (11:00 - 1:30), but the balance between the
TREBLE Control and the other two tone controls is compromised.
The one place you may want to throw caution to the wind and set the TREBLE
Control above this median zone presents itself in Channel 1 of your new Recto. In
both modes (Clean & Pushed), the TREBLE Control can be used to dump extra
gain into the mix. This is especially effective in the PUSHED mode for crunch
sounds. When doing so use the PRESENCE Control to roll off some of the more
than ample top end for a more compressed feel and fatter voice. As you might surmise, the BASS Controls’ effectiveness will be
reduced, so you may have to run a much higher setting than you are used to seeing to achieve a balance. This said, keep in mind that
the TREBLE Control in Channel 1 Pushed should not be set much above 2:30 to avoid unwanted microphonic tube problems.
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can
see each Channel is fitted with its own MASTER Control, enabling the three channels relative volumes to be matched regardless of
their extremely different sound styles and gain signatures. The
MASTER Control makes possible a wide range of sounds
through its ability to use very low Gain sounds at high volumes
and conversely, high Gain sounds at low volumes and every-
where between.
Again, we suggest using the MASTER Control in its sensible
ranges (9:00 - 2:00). Here, the channels will be easier to match
with each other and the Effects Loop will see more reasonable
signal levels.
NOTE: Because the MASTER Control creates the send to
the Effects Loop, extreme settings will cause a large signal to
be sent to the Loop for that Channel. Not only may this cause
possible overloading of the processors Input stage, but will
make balancing the three channels’ Effect Send level difficult.
The Controls:
(Continued)
INPUT
GAIN
TREBLE
REGIONAL TITLES ARE THE SAME FOR ALL 3 TREBLE CONTROLS
SWEET SPOT
CH
1
CLEAN
PUSHED
100 WATT
50 WATT
MASTER
INPUT
GAIN
TREBLE
REGIONAL SETTINGS ARE THE SAME FOR ALL 3 MASTER CONTROLS
MOST SENSIBLE RANGE
EASIEST TO BALANCE CHANNELS
REASONABLE FX LOOP SIGNAL LEVELS
CH
1
CLEAN
PUSHED
100 WATT
50 WATT
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