The Preamp MODES: In Channel 1 the choices are grouped in reference to gain regions
usually associated with Rhythm styles; FAT CLEAN, TITE CLEAN and CRUNCH.
The beauty of FAT CLEAN re-educates EL aficionados used to living with clean “inputs” that are no more than
upstream patch points. Satisfactory, though un-inspiring, we choose to switch in an entire clean-optimized preamp dedicated to spar
-
kling highs, sweet mids and breathing lows. The FAT CLEAN mode invites a refreshing, re-defining look
at the expectations of clean sounds in this genre of amplifier.
The more stripped TITE CLEAN mode trims away some of this low end response and leaves you with
an urgent voice where mids and highs dominate and lows support. This difference is perfect when darker
mahogany guitars are in use or, in the studio when you need a part to sit in a mix without occupying
too much space.
From here gain is increased dramatically to produce CRUNCH, an essential, quintessential mode which delivers the spectrum from
classic Brit break-up, through tight Southern Crunch and eventually to a smoldering L.A. Grind. This mode is so flexible and its’ gain
region so inherently right for so many styles, that we repeated it as an option in Channel 2.
This channel begins its odyssey into the realm of gain hellacious with an ingenious, yet common sense duplica-
tion of the CRUNCH mode found in Channel 1. A scheme that proves invaluable, as this versatile mode tops-out at the onset of
saturation, offering up a wide and usable range of medium gain. Not just great for rhythm playing, CRUNCH reveals a whole world
of articulate, earthy solo sounds that leave the vintage or modified circuits seeming a bit inadequate, if
not overpriced.
Next, the TITE GAIN mode steps into the
MESA frontier of lead voices with a new and blistering rendi-
tion of the classic Brit sound that has been fortified with additional gain and classic
Boogie focus. This
new sound adds a searing harmonic blade to the mid-focused, chest thumping hit so prevalent in the
U.K. based circuits and creates an addicting-to-play solo voice that stands proud alongside the likes of
our fabled Recto, Mark I
and Mark IV.
And finally we come to FLUID DRIVE, the highest gain of the 3 modes in Channel 2. This self-descriptive mode adds yet another triode
stage to the preamp, unleashing a single note voice of unprecedented liquidity. Notes flow out into in a river of harmonic complexity
while retaining authority and depth, spread and focus. Here, the attack of the note is transformed into an instantaneous symphony
as it is morphing from an absolute bold event in time - to a spinning wheel of vowel sounds as the envelope changes during decay in
response to the rise and fall of input voltage generated by your picking technique.
All this preamp tone and flexibility is only half the story and magic though it is, the power section of the Stiletto plays an equal role
in making what we call a high performance amplifier. With the Stiletto you have options to tune the power to the sound you are
searching for, both channel specifically and globally, and these choices point at crucial differences in power response that turn good
tone into classic tone.
Each Channel features a 50/100 (50/150 Stiletto Trident) POWER SELECT switch that enables you to assign the number of output
tubes that will be brought on-line as a Channel is called up. In the Stiletto Deuce, 50 watts calls two tubes into service producing a
half-power scenario, while the 100 watt setting brings all four EL’s to life for big, tight headroom.
The Stiletto Trident lets you choose between the clip-able 50 watt two tube scheme, and the crushing might of 150 watts - where
all six output tubes unleash a previously unknown frontier of EL aggression.
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INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE
GAIN
CRUNCH
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE
GAIN
CRUNCH
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