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BASS: (Continued)
Note: The BASS control in both channels of your LONE STAR is very powerful and though we have taken
steps to ensure a balanced tone is easy to achieve, it is wise to blend with subtle nuance in mind. This is especially true in Channel
2 when using either the regular Channel 1 style gain circuitry cranked, or the DRIVE circuitry for higher gain lead sounds. A good
rule to follow is this; as you increase the GAIN reduce the BASS. Following this scheme will retain balance and keep the attack of the
notes dynamic, tight and touch sensitive.
PRESENCE:
The PRESENCE control is a high frequency attentuator that is placed at the end of each channels pre-amp stage
and affects frequencies higher than those of the TREBLE control. It acts independently of the other rotary tone controls and is crucial
in voicing the Channel. It is a powerful global tone control. Lower PRESENCE
control settings darken and, in fact compress the signal which works well to fatten
single note solo sounds, giving them girth and focus.
Some of the best lead sounds in your LONE STAR will find the PRESENCE control
in it’s lower regions, where a balanced, vocal response is achieved.
MASTER:
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 both 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 everywhere 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 set-
tings 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 both channel’s Effect Send level difficult.
NOTE: When the Effects Loop is set to HARD BYPASS, the individual Channel MASTER controls act as the final output controls.
This is a result of removing all associated Loop circuitry - and since the OUTPUT and SOLO controls are part of the Effects Return
stage - they are bypassed as well.
100W / 50W / 10W: Channel Power Select:
These channel specific mini toggle switches allow you to preset one of three choices for
the output wattage and style of power for each channel independently. As mentioned in the Overview, the Multi-Watt™ Channel Assignable
Power is joined here by our patented Duo-Class™ feature that incorporates two different Classes of Operation and Wiring Configurations in
the same amp!
In the 100 watt (switch up – 4x6L6) and 50 watt (switch center – 2x6L6) settings, two or one pair
(respectively) of tubes are on line, delivering maximum power and punch from a circuit operat-
ing in Class AB wired in a Push-Pull configuration. This is the most classic and widely used
scheme in modern tube amplification chosen for its low heat, high efficiency characteristics and
overall musical performance. These two settings are where you will find yourself for most live
performance scenarios as they will deliver abundant clean headroom and a fat, articulate and
very present solo voice.
MASTER
BASS PRESENCE
100 W
50 W
100 W
50 W
100 W
10 W
50 W
50 W
100 W
10 W
OUTPUT
LOOP ON
SOLO
MASTER
FRONT PANEL: Controls & Features (Continued)
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