THE CONTROLS
(continued)
MASTER
PRESENCE
PAGE 9
Once again the two controls, GAIN and LEAD 2 DRIVE, work in tandem with each other and their mix is crucial to
finding a specific sound. In general, the higher the Gain...the darker, fatter and more saturated the sound will be.
The higher the LEAD 2 DRIVE...the brighter, more harmonic and aggressive the character becomes. We like to see
a GAIN control setting of
7.0
or
7.5
for bluesy or medium gain solo sounds and
8.0
for the more high wire rock
sounds. Then simply adjust the LEAD 2 DRIVE to taste. Many of the coolest sounds find the LEAD 2 DRIVE either
equal to, or substantially lower than these afformentioned Gain settings. Specifically check the lower range of the
LEAD 2 DRIVE where the threshold of distortion is incredibly smooth and single notes purr. Consult the factory
presets for comparison purposes and as always...experiment.
The programmable MASTER control serves three purposes in the layout of the TriAxis. FIRST: It serves as a
level balancing control for each of the eight modes. This enables a wide range of front end GAIN control settings
to be matched to a given listening level and the relative level compared to the other modes. SECOND: It acts as
an effects send control for each mode in the Effects Loop. As with many of the controls in TriAxis, the best
results for balance and tone are usually found in the middle range of this control. THIRD: The MASTER is the
Recording jacks’ send level control. When using the direct Recording jacks found on the Rear Panel to interface
directly to a mixing board or a recorder, this control will determine the amount of signal you will be sending via these
jacks. In this application it is usually best to start with the MASTER control set to
and gradually increase it to the
desired level. This minimizes the possibility of blowing speakers or eardrums in the event the engineer has an
extremely sensitive input headroom setting in place at the console. Once again avoid setting the programmable MASTER above
in the Clean Rhythm modes (Green/Yellow) as high settings here can possibly overload the input stage of the DYNAMIC
VOICE control, producing unwanted clipping.
This control usually regulates either brightness or negative feedback in the power section of an amplifier. In the
TriAxis a whole new approach to this traditional circuit was taken. An actual dynamic feedback loop that com-
presses the highs and upper treble frequencies makes this PRESENCE control the first of its’ kind. In applying for
the patent for this unique (high compression) circuit, we discovered that this same basic concept can apply to many
parts of the tube amp in guitar amplification and your TriAxis is the first benefactor of such a breakthrough. With
greater understanding and patent grants behind us, lets talk sound.
As the PRESENCE control is increased, more highs are allowed to pass. The lower the signal strength at the input
of this control, the more highs pass through it. The lower region of the PRESENCE control dampens these high
harmonics. The greater the signal strength at the circuit input becomes, the darker the sound becomes. So...if you set the PRES-
ENCE control high and pick softly (sending a small signal through the PRESENCE control circuit) the highs will be very promi-
nent in the mix. If you decrease the PRESENCE control and pick harder (increasing the signal strength at the PRESENCE
control circuit input) the high harmonics will be very subtle. In other words, the PRESENCE control helps enhance whichever
direction your’re trying to go in with your sound and it does so dynamically! Most players love the way tube circuits react to subtle
nuances in style...This PRESENCE control circuit takes that idea a few steps further. When you’re “going off” on the treble strings in
a solo and you go for an expressive bend and lay hard into the note...TriAxis works with you! If you picked the note hard with the
PRESENCE control set low, that note would become bigger, rounder and more compressed.
Likewise, if you were doing some low growling work on the bass strings and the PRESENCE control was set high...you could relax
into this segment and let the PRESENCE control make the edge. Most everyone that we know always wishes their high notes could
be fatter and their low notes to be more discernable and articulate...highs where you need them, lack of highs where you don’t. Make
sense...? If not on paper, then you need to plug in and experience the way this dynamic PRESENCE control can enhance your
playing, especially when you are soloing.
LEAD 2 DRIVE
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