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dently of the other rotary tone controls and is crucial in voicing the Modes. 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 Recto will find the PRESENCE Control in its lower regions where a balanced, vocal
response is achieved.
One example of this would be when dialing up Bluesy solo sounds in the CLEAN Mode. Here, it
is helpful to add gain early in the preamp with the GAIN and TREBLE set higher than normal (5:00 & 2:00) and then roll back
the PRESENCE (9:00 – 10:00) to get the sound to warm up again. This scheme can be repeated throughout all the modes and
also in reverse where the PRESENCE is higher and the TREBLE is reduced. That said, many of the best sounds are achieved
with both TREBLE and PRESENCE straying above 12:00 only occasionally, as they both pack powerful frequencies that can be
dangerous at the top of their range.
Higher settings unleash the mighty roar of your Recto-Verb 25 and produce brighter, more pointed sounds that will cut through
a mix. This can be great for sparkling clean sounds in Channel 1 and more aggressive crunch rhythm sounds in PUSHED,
VINTAGE and MODERN.
MASTER
This control is the feed from the end of the pre-amp to the driver stage and the FX Loop. As you can see, each
Channel is fitted with its own MASTER Control, enabling the two channel’s relative volumes to be matched regardless of their
extremely different sound styles, settings and gain signatures. The MASTER Control makes
possible a wide range of sounds through its ability to use very low GAIN settings at high
volumes and conversely, high GAIN settings at low volumes and everywhere in 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 FX Loop will see more rea-
sonable signal levels.
NOTE: Because the MASTER Control determines the send level of the FX Loop, extreme
settings may cause possible overloading of FX processor’s or pedal’s Input stage, but
also may make balancing the two channels’ FX Send level difficult.
STANDBY
Perfect for set breaks, this toggle switch also serves an even more important purpose. From cold-start, the
STANDBY position allows you to warm up the tubes – especially power tubes – before applying the high voltage by switching
the STANDBY to the ON position. Before POWER is switched to ON, make sure the STANDBY switch is in the STANDBY position.
Wait at least 30 seconds and then flip the STANDBY switch to the ON position. This prevents the shock of high voltage hitting
cold tubes and reduces the likelihood of tube problems and increases their toneful life substantially.
POWER ON
This switch delivers the A.C. power to the Recto-Verb 25. Make sure the unit is grounded (all three terminals of
the A.C. power cord must be connected to avoid injury to the user as well as to the unit) and that the proper voltage is present.
Always follow the cold-start procedure described in the STANDBY section above when powering up your
amplifier. This will reduce the likelihood of tube problems and increase their musical life.
That covers the Channels, Modes and Controls found on the Front Panel of your Recto-Verb 25. Now let’s
swing around to the Rear Panel and take a look at the FX Loop and Speaker Outputs.
PRESENCE
WARM
& VOCAL
BRIGHT &
AGGRESSIVE
MASTER
25 WATTS
10 W
25 W
10 WATTS
MOST SENSIBLE RANGE
EASIEST TO BALANCE CHANNELS
REASONABLE FX LOOP SIGNAL LEVELS
POWER
STANDBY
FT
SW
CH 1
CH 2
ON
ON
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