PAGE 9
THE CONTROLS
(continued)
LEAD 1 DRIVE
89
LEAD 2 DRIVE
the bottom end stay tight - even at rather high BASS control settings. Harmonic “chirping” and “held” note “harmonic
leaping” are easier to obtain with higher settings of the MID control. In short, the MID control acts as the dominant
tone shaping control in the LEAD 1 Red mode.
This control blends in the lower frequencies and its’ effectiveness, again, depends on the setting of the TREBLE
control. It should be set with moderation as extreme settings in either low or high directions can produce an unbal-
anced tone. Be especially careful in higher gain settings of all modes except Lead 1 Red. Too much Bass will cause
a flabby, unfocused sound that can’t be dialed out elsewhere because excessive Bass has been introduced early on
in the circuit. Try setting the BASS control to
4.0
or
for clean sounds in the Rhythm modes and
3.0
or below
when dialing up high gain overdrive sounds in these nodes. In the Lead modes, try setting the BASS somewhere
between
3.0
and
6.0
depending on the amount of Gain and Treble that’s dialed up. Keep in mind that Lead 1 Red
has its’ own dedicated range of the BASS control,
5.5
to
10
, as it can support higher BASS control settings than
the other 7 modes. See explanation in the Modes section of this manual under “Lead 1 Red.”
This is the principal gain control for the Lead 1 group of circuits. It determines the amount of overdrive present at the
most crucial pre-amp tube stage in these three lead modes. As we mentioned earlier in the Mode section of this
manual (see Lead 1 Red), this controls’ location moves along with many other parts to better accommodate this pre
- tone control type of architecture. In the Green and Yellow modes, LEAD 1 DRIVE affects the first tube stage of
significance and high settings of the LEAD 1 DRIVE here, will produce rich warm gain that “fills in the holes” and
blends the harmonics subtly. We feel the best sounds are achieved by matching the LEAD 1 DRIVE to the
setting of the GAIN control (far left-front panel) or setting the LEAD 1 DRIVE slightly below that of the GAIN...for
example, GAIN at
8.0
, Drive at
8.0
or GAIN at
8.0
DRIVE set at
6.0
etc. This scheme lends itself to the most
focused, well balanced sound.
In the Red mode, the LEAD 1 DRIVE makes its’ move down the line to a later stage, where it can be more effective. At this point it is
wise to mention once again that the GAIN control is a crucial part in the operation of Lead 1 Red. As we said earlier (see Modes
section, Lead 1 Red) this location is usually a discreet resistor in pre-tone circuits, while in TriAxis, it is an adjustable pot. It is
therefore important for you to set this GAIN control to the proper “fixed” resistance...at least to check it out before deciding to deviate
from the recommended setting. Set the GAIN control at
6.0
, if you find this lacking (gain wise), increase the LEAD 1 DRIVE before
increasing the Gain. This will ensure tight bottom end response while producing a less buzzy quality in higher frequencies.
Once again, the Lead 2 group of modes are post tone control. Therefore, the fine tuning of overdrive must occur
later in the circuit where it can focus on finer increments of gain. This Drive control meters the Gain in the third stage
of the Lead 2 group of circuits. Its’ taper was chosen to deliver very fine increments of gain in the lower regions,
0.0
through
3.5
...small increments in the middle range of
4.0
through
7.5
and fairly substantial increments in the
upper range
8.0
through
10
. As with many of the controls aboard TriAxis, moderation often produces the best
results. Try using this control subtly in conjunction with the GAIN control. It is usually unnecessary to set the Lead 2
DRIVE above
8.0
, even for the most crazy rock sounds. If you are finding moderation to tame when using this
control...perhaps it is time to take a look at other parts of your system, ie. your guitars’ pick-ups, speakers, power
amps etc. In other words...there should be more than enough gain here to accommodate even the most extreme
styles.
MIDDLE
4
5
6
7
BASS
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