DYNAMIC VOICE
PRESENCEMASTERLEAD 2 DRIVE
GAIN TREBLE MIDDLE BASS
LEAD 1 DRIVE
4
0
1
23
5
67 89
THE CONTROLS
GAIN
0
1
TREBLE
23
MIDDLE
4
5
PAGE 8
This is by far the most critical and powerful of the controls in TriAxis. It not only determines the overall gain amount,
shape and sensitivity of each mode...but it is sort of a Tone control as well. Generally speaking, whatever is dialed
here ultimately determines the mode’s personality. Set low, it allows “cleaner” brighter sounds with enhanced
dynamic response, especially in the higher frequencies. Set high the whole personality of the mode becomes
fatter and more overdriven. In TriAxis we worked hard to make sure the entire range of the Gain is usable and
more importantly, musical. Don’t think for a moment that this simple layout limits you as to the amount and texture
of gain. Long neurotic hours were spent to ensure the frequencies, as well as the ranges, of gain available here
were stylistically accurate. It’s probably good to mention here that most of the great sounds can be found by
setting the GAIN control moderately, especially in the 6 Lead modes. For example, somewhere between
and
in the Lead modes, and between
and
in the Rhythm modes. This reduces the likelihood of pesky tube micro-
phonic problems occuring while at the same time making the modes easier to balance with each other in regards to volume and
effects send level strength.
As with most all tube guitar amplifier, the TREBLE control is the strongest of the three tone controls. Its’ setting in
the TriAxis determines the blend and strength of the MIDDLE and BASS controls. Set high, it is the dominant
control, minimizing the amount of MID and BASS possible in the mix. Set low the TREBLE becomes the recessive
control and a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to produce the
best results.
The MID control determines midrange punch and boldness in lower gain sounds and a smooth “vocal” blend in high
gain sounds. It can be very effective in acting as a “cut through the band control” in certain situations. Dial to taste,
remembering that the setting of the TREBLE control greatly effects its’ strength. However...there is an
exception...in the LEAD 1 Red mode the MID control is extremely powerful. Its action may be likened to that of
the TREBLE control in all the other modes. The MID can completely re-shape the entire personality of this pre-tone
gain mode simply by setting it either very low or very high. This difference is because in the other 7 modes, a
standard MID value pot and circuit placement scheme is in place. When the Lead1 Red mode is selected, the MID
control changes drastically and its placement in the circuit is moved.
Setting the MID very low in this mode scoops all the attack and lends a spongy liquid character to the sound. This type of setting works
very well for single note work or very low gain rhythm playing. The strings will seem easier to play if the Mids are kept low in the Lead
1 Red mode. Setting the MID control high in Lead 1 Red adds extreme attack and aggression. In this range of settings, the GAIN and
LEAD DRIVE controls can be set relatively high before any mush or lack of articulation is noticed. This type of MID setting also helps
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