LEAD MODES:
(Continued)
LD2
PAGE 17
value most often found in this style of circuit. In fact it is the same value as that of the Recto’s Vintage / Orange channel. Notice
that the factory preset 01 uses this setting of the GAIN control. Countless hours of comparison testing, tweaking and re-testing
enabled us to locate this value at that Gain setting location. Use the LEAD 1 DRIVE control as your main “GAIN” control and you’ll
probably get the most tone for the least amount of time spent tweaking...after all, isn’t that the idea?
2. The BASS Control aboard TriAxis is actually schizophrenic. It performs dual functions depending on whether you are using
Lead 1 Red or any of the other 7 modes. From
5.5
down to
0.0
the BASS control uses resistor values that coincide with those found
in most other amplifiers. From
on up to
10
we have endowed this control with a whole set of values specifically designed to
enhance the bass response of Lead 1 Red. This dual personality control works extremely well because in all seven of the other
modes, bass should be used sparingly to avoid unwanted flub and flatulation. Because of the inherent warmth produced by our
relentless toning of these 7 modes, it is generally not necessary or desirable to set the BASS control much above
5.0
when using
these 7 modes. In Lead 1 Red however, massive amounts of Bass may be pumped through the tone controls before any
tubbiness occurs. This enables the end all crunch to have a Godzilla size chunk on the two low strings and that resonant “hollow log”
vibe on the two mid strings. This different range of bass resistances does nothing detrimental to the other seven modes because so
rarely would the BASS control be set at
through
10
in these modes.It puts Lead 1 Red in the untouchable class though, now
being capable of amounts of tight bottom simply not found in other circuits.
3. The PRESENCE Control is very late in the circuit to have much effect at all on the timbre of Lead 1 Red. It is virtually undetectable
except for extremely low and high settings. This is normal and no cause for alarm. We have found the TREBLE and MIDDLE controls
offer plenty of shaping. The PRESENCE control in circuits of similar nature to Lead 1 Red are always found in the power amp section
of the amplifier. Use the PRESENCE control to fine tune the pick attack / noise of Lead 1 Red and an actual shaping tool in the other
7 modes that it was designed to enhance. Use the presence controls found on your power amp to add more attack and harmonics to
Lead 1 Red.
As you can see Lead 1 is a group of three widely versatile choices in lead sounds. Truly it’s like having three separate amplifiers that
use pre-tone control circuitry to achieve their voice. Each has its’ own forte, personality and voice. Being a TriAxis owner, we know
you’ll find a use and a home for each of these classic circuits.
In this group of three modes we pay tribute to a different type of circuit altogether. The Lead 2 group of modes use architecture that
we refer to as a post-tone control gain circuit. In 1980 Mesa revolutionized guitar amplification by introducing the first dual mode
footswitching amplifier, the Mark II. This patented “rear end” lead circuit changed the way we think about guitar amps by ushering in
the era of amps with a dedicated lead sound that could be switched to without touching the knobs or interrupting the clean mode or
channel. Fourteen years and several generations later, TriAxis obviously brings this idea to its’ fruition. To this day this revolutionary
circuit remains the sonic backbone of our amplifier design concept. With heralded veterans of this design the Mark II-B, II-C+,
Mark III, and Mark IV...the rear-end lead legacy lives on...stronger than ever! It is in Lead 2 that we celebrate these classic lead
sounds and offer up a couple variations on the theme. Again, these are the more articulate and focused lead sounds. Some
players that grew up playing non-Mesa amplifiers may find these dry and stiff at first, but have patience, and you will come to enjoy
these modes. There is simply less “slop around the note” in these modes making them a sort of magnifying glass for inaccurate
playing. We like to think of these modes as having the built in qualities of a good teacher. What you put in is what you get out.
However, should you spend much time at all plugged into these modes, we guarantee you will become a master of nuance. These
modes are sure to make you a better player if you give them the chance. Though at times they are more revealing, you will find that
they hold up better in a mix and are much more behaved on a stage full of live microphones. Usually they are also much better
for any kind of rhythmic high gain playing where you need urgent attack and tight cut-off points. Use the DYNAMIC VOICE to
enhance the lows and highs and you will find Lead 2 to easily have the hugeness of lows, but with an added tightness and articulation
that simply can’t be obtained in Lead 1. There are many times when these frequencies work much better in the studio or in a larger live
band situation. They cut through and stay focused much longer allowing your part to be heard and yet not get in the way of
other parts. In other words, Lead 2 sits nicely in a mix. So with this overview of this super cool group of lead circuits, lets get mode
specific.
LD1
RED:
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