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Master and compensate for the volume difference with the Output Controls. REMEMBER, the
Master Control feeds this control and it will be affected by either very low or very high settings of
the Master.
LEAD BRIGHT: The last of the pull functions, this feature is very similar to the Volume Pull Bright.
It works only in the Lead Mode, adding brightness and gain. The result is a truly searing top end
without sacrificing fatness. NOTE: At high gain settings, especially in Lead 2, the Lead Bright
control may cause excessive squealing and pickup feedback. To avoid this annoyance when high
gain and high volume settings are in use, push in the Lead Bright. If this is undesirable, either the
Lead Drive or the Volume must be reduced.
LEAD MASTER CONTROL
RECOMMENDED SETTING: Channel 1: 3, pulled
Channel 2: 3, pulled
GRAPHIC EQUALIZERS: Now that we've reviewed the standard tone controls and have an idea
of how they interact, let's take a look at the Graphic Equalizers. The Quad is equipped with two
"on board" 5 band equalizers that are tailored specifically for guitar. Their center points provide
maximum tonal flexibility and respond to even the most subtle adjustments. This combined with
the ease and simplicity of 5 bands, makes for another powerful tone control section. Although the
equalizers are an integral part of the Quad pre-amp and provide many possibilities, they can be
bypassed at any time. All you tube purists will be glad to know months of R & D went into
perfecting the Quad's tone before the equalizers were added and scrutinized.
There are two ways to use the Quad's EQ functions. The first would be manually, via the FU-2,
switching system or, the toggle switches located on the Front Panel next to the EQ sliders. The
second application would be to use this same toggle switch to "preset" or "program" the Equalizer
to be activated simultaneously with the mode chosen. The toggle switch is a three-position switch
enabling the user to assign the EQ to either the Rhythm mode or the Lead Mode of that channel.
Should you desire the EQ in both modes, you could assign it to one and footswitch it to the other
or engage it with the footswitch and leave it on. Either way, every possibility can be achieved with
minimal player inconvenience. "Cross switching" of the Equalizers between channels is not
possible. However, if the Quad is used in a Midi system where modes are being selected via
External Midi Switching jacks on the Quads rear panel two modes can be selected at once. They
must be of opposite channels, i.e. (Rhythm 1, Lead 2 or Lead 1, Rhythm 2). In this way the "cross
switching" method can be simulated by blending the two modes so that the channel/mode with the
EQ desired is dominant. This can be accomplished via the Master/ Lead Master or assigning the
EQ and bringing the sliders below center, (less than unity gain).
Although there are many ways of setting the EQ, one “graph” seems to have found its way onto
every coliseum stage at one time or another. The classic “V”. This setting enhances the low and
high frequencies while dropping the mids significantly to create a "bigger" fatter sound. Move the
two outside sliders to just below the upper line. Move the 2nd and 4th sliders just above the center
line. Take the 750 HZ slider and center it around the lower line. Fine-tune this sound with the 750
slider. You'll find a lot of control around this lower line on the 750 HZ slider when the EQ is set in
this manner. Small increases or decreases make big sonic differences here. This slider is the
"pivot point" of the “V” sound. Most of all: Experiment! The Graphic Equalizer when used creatively
can "expand" the Quads switching capability to virtually double. Six different sounds? Eight
different sounds? Your imagination is your only boundary.
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