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filled-in with a focused mid attack appearing rather quickly. As you would guess, the feel starts to change - becom-
ing more resistant. Above this region the MIDDLE control could be used to compensate for either weaker pick-ups or for times when
a specific deficiency is produced by either an extremely high setting of other tone controls, or a physical anomaly in the room. While
these MIDDLE control settings ( 2:00 - 5:00 ) can introduce added gain and create enhanced focus, the trade-off will be a stiffer, more
forward, less compressed feel.
CHANNELS 1 & 2 utilize a different MIDDLE control than that of the CHANNELS 3 and 4 with a custom-designed taper and
value. In its low range ( below 12:00 ) it functions as a normal midrange control with a taper suited
to blending fine increments of these frequencies. Most players lean toward a fairly radical scoop (
7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus producing the
signature sparkle and breath essential for a pristine clean sound.
As the MIDDLE control in CHANNELS 1 & 2 are swept past 1:00, it quickly starts to add gain in these
midrange frequencies adding cut and punch. As the top end of the control is reached, ( 3:00 - 5:00 )
it becomes an additional gain control capable of taking both CLEAN and TWEED modes to extremes.
Experiment with this cranked region in conjunction with conservative settings of the other tone controls
to balance both sound and feel. While this added flexibility may make CHANNEL 1 & 2 MIDDLE control
a little more tricky to learn at first, it will become quite valuable as you start to realize the power of
this super versatile channel.
BASS:
This control works similarly in all four channels in that it determines the amount of low frequencies present in a sound.
However, the actual frequencies and style of lows it mixes in changes from channel to channel. Like the MIDDLE control, it falls in line
signal-wise after the TREBLE control and the same scheme applies. When the TREBLE control is set
high, the effectiveness of the BASS and MIDDLE controls is reduced. If the TREBLE control is set low
these two controls become dominant.
For the most balanced sound and a balance of power between the three rotary tone controls, try to
use the TREBLE control in its middle ranges. This scenario produces nearly equal representation of
all the frequencies on the tone controls and provides a great neutral starting point for further tweaking.
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 Roadster
will find the PRESENCE control in its lower regions, where a balanced, vocal response is achieved.
Higher settings unleash the mighty roar of your Roadster and this can be great for sparkling clean
sounds in Channels 1 & 2 and more aggressive crunch rhythm sounds in the high gain modes. Be
sure to taunt the beast that lurks in CHANNEL 3 MODERN as the PRESENCE is truly amazing in
this most agro mode.
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
GAIN
TREBLE MID
MID: (Continued)
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
GAIN
TREBLE MID BASS
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