LEAD MODES:
(Continued)
LD2
YELLOW:
PAGE 18
Unlike the Lead 1 modes, all three Lead 2 modes are actually very similar in their respective amounts of gain. In Lead 2, the gain is
enhanced differently in each of the three modes by focused boosting of frequencies. This enables the player to choose a particular
mode for specific ranges of the instrument or simply for a given song or a certain part therein.
Lead 2, as we said, was derived from the basic MK II style design, so we thought it fitting to dedicate two of the three modes to
previously raved over classic Boogie amplifiers, the MK IV and the Mark II C+. These are represented in the Green and Yellow
modes respectively. The Green circuit is taken directly from a Mark IV Lead channel. Green is focused gain. It uses the concept
of the Mark IV’s Mid Gain, a feature added in 1989, to enhance the attack and to lower the medium midrange “meat” of the sound.
By enhancing this part of the spectrum a rich, bold, yet singing quality is produced. Thick would be the best way to describe its’
character, while Punchy would accurately describe its’ attack. It does saturate the note fairly completely, especially at high gain
settings, but the attack envelope is so right at lower gain settings, that roots players usually love this Green mode. Its’ thicker
midrange punch really helps melody lines played on the high strings, particularly high on the neck. With higher Gain and
Drive settings the high notes soar and sing, yet don’t get too soupy to be heard in a big mix. Green is especially helpful in getting rid
of unwanted fret buzz or other annoying idiosyncracies of an instrument that may be set up wrong. It tends to cover up buzz leaving
just the note with greater purity. This is most apparent when a weak single coil is used for soloing. Lead 2 Green is the cure for this
dilemma. It adds the needed frequencies and its’ gain is the steroid habit these weaklings need to deliver a bold lead voice. Green is
the mode of choice anytime you need to deliver a statement and you don’t have the luxury of several tracks. It is single note
authority at its’ expressive best.
NOTE: As we mentioned earlier in the Lead 1 Red description, the setting of the GAIN control in all modes is crucial to achieving the
sound you are looking for. Each mode has its’ magical optimum setting for this control and we can only give you our view and a few
factory settings to demonstrate our thinking on this. Ultimately, it may vary for each mode, guitar, player, and environment and it’s on
you to discover what fits your situation. In Lead 2 we have come to a simple “rule of thumb” you might say as to where we prefer the
GAIN control to achieve the best blend of attack and quality of tone. Try this first, then deviate from there in all three Lead 2 modes.
We like to see the Gain at either
7.0
or
7.5
(depending on your instruments output) for lower gain blues sounds or very articulate
medium gain solo sounds. When higher gain or straight up radical rock sounds are in demand, a GAIN control setting of
7.5
or
8.0
again depending on pickup output) should be more than enough.
With higher than recommended Gain settings a flubby, indistinct attack will occur that the BASS control will have difficulty in
removing. Lower than optimum Gain settings will produce excessive high harmonic content, thin the notes out and even add
a buzzy quality to the sound. Like we said...Try these first. Check the factory settings, as they were created to demonstrate what a
balanced tone would be for each mode. If you find these lacking, then by all means...EXPLORE!
This is Boogie. This mode is the sound that started the craze that became what is slanged as the “California” sound or the “L.A.” guitar
tone. Lukather, Landau, Keaggy, Lynch, Gillis, Prince, and Metallica catapulted this sound into the forefront of hitmaking guitar sounds
throughout the eighties. Metallica continues to search high and low for pristine C+ Heads to add to their amplifier collection - deeming
them essential for recording, but you don’t have to! The Yellow mode is the reincarnation of the fabled Mark II-C+ Lead mode. Its
blend of bold punch and evenly stacked liquid harmonics produces a lead voice that transforms any player who spends enough time
to let it...into a virtuoso of feeling, soul, and statement. It growls with ferocity in the low range, staying tight and urgent. A “thonk and
chirp” is experienced traveling through the midrange frequencies. Then suddely, as if someone redialed for the highs, an explosive,
yet liquid, top end comes ripping out as you squeeze every luscious note out of the treble strings. Sound almost sexual? Primal? Well
many a II-C+ junkie...(there are roughly 4500 of them,) will confess...broken hearts are often cured from a couple weeks rocking with
a C+. Seriously, the blend of this mode is so amazing that most players are finding new great sounds 2 and 3 years after their first ear
to ear grin.
While the Yellow mode excels at medium to high gain settings because of these nicely stacked harmonics, don’t underesti-
mate Yellow for the rootsier low gain sounds. Sure as you can make high gain sounds chirp and squeal on command, low gain
LD2
GREEN:
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