case, you will be getting mostly the highest region of harmonics layered into the sound via the PULL BRIGHT
on VOLUME 1. This works out well, as it allows for beautiful shimmering clean sounds in the RHYTHM Mode
and at the same time and setting, a nice halo of harmonic content in the LEAD Mode that adds dimension and
a soaring quality to produce supremely musical overdrive.
Regardless of how you choose to apply the PULL BRIGHT, you will find it oers dimension and a wonderful
musical complexity to the sound across the wide range of input gain settings available on the VOLUME 1 control.
We suggest spending some time experimenting with the PULL BRIGHT here on VOLUME 1, the TREBLE and
PRESENCE, along with the two highest Bands in the Graphic EQ (2200 and 6600), to better understand where
these dierent regions of top end exist in the spectrum and how they interact to shape top end, so you can
quickly achieve the sounds you hear in your mind.
TREBLE
Next to VOLUME 1, TREBLE is the most critical control in the amplifier, or at least certainly among the preamp’s
Tone Controls. It feeds the Tone control string, and therefore its setting can determine how powerfully the MID
and BASS work. Like VOLUME 1, there are three zones in its range: low, middle, and high. These are as simple
to understand as warm, cut, and bright, with the bright (highest) zone having a pseudonym/nickname, which is
“dangerous,” at least when it comes to musically balanced sounds.
The lowest part of the range is where the round, warm sounds will be found. The most usable part of this range
is between 2.5 and 4.5 with the portion below 2.5 having few uses apart from dark jazz sounds, and even there
3.5 – 4.5 being the most useful for that musical genre.
The middle range is where most of the best sounds and performance are found for a wide range of instruments
and styles, 4.0 – 5.75 being by far the most frequented for most players. In this range, the balance between all
the Tone controls is at its best, and plenty of brightness, cut, and openness are available for almost any style
and instrument.
From 5.75 through 7.5 on the TREBLE will, for most, be used in a very specific application that calls for maximum
attack and cut with an instrument that is shy on top end or for a gained-up chording sound in a crowded mix.
When using settings in this zone, you may also need to increase the BASS and MID to fill in the gaps, as the
TREBLE set up there overpowers the other two Tone controls.
The high zone of the TREBLE can be used for the high gain LEAD Mode as well as to add attack and cut, but
keep in mind that, like having the PRESENCE set high, it can also lend an unwanted buzzy or fizzle-y quality to
the sound, especially on single notes if not balanced well with the other Tone controls.
Lastly, avoiding very high TREBLE settings can help reduce hiss and excess noise in your amplifier, especially
in the Lead Mode. Avoiding that region can also reduce the likelihood of tubes with microphonic tendencies to
begin squealing or whistling, especially at high gain VOLUME 1 settings combined with high TREBLE settings.
We pay special attention to this in the final play-testing as your amplifier was built, but no one can predict what
a tube will do over time with continual use, temperature fluctuations, and the bumps, jiggles, and bounces
incurred in traveling.
TREBLE / PULL SHIFT
The TREBLE’s Pull-Switch revoices the treble frequencies lower and boosts them (when Pulled Out), adding
focus, girth, and punch for thickening chords and robust, commanding single-note soloing. The TREBLE SHIFT
aects ONLY the Lead Mode. The frequencies boosted tend not to be as pleasing or useful for clean sounds.
A lot of character and energy is carried in this fairly wide-Q boost, and it can be very eective in stepping up
the authority in your lead playing and the aggressiveness of your rhythm work. It can also be handy in “beefing
up” guitars that have a meeker voice or weaker pickups when that is the call for some musical genres.
The trade-o or flip side of this fattening and boosting is that these lower frequencies (of the treble range) can
overshadow or cover up your guitar’s natural character in the top end quite a bit. When going for lower gain,
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