is available, the top end harmonics are bubbly and the attack is fast. DRIVE and HI are tuned to deliver threshold sounds in this zone
where the gain is more subtle, and there is still plenty of the guitar’s personality intact. This zone is great for all the sounds when DRIVE
and HI used for clipped chording, as there are plenty of dynamics intact that have not yet been compressed by too much saturation.
The middle region of the GAIN control (11:00 – 2:00) is where the most balanced sounds live and you will find this region delivers
warm, full sound, detailed attack and good dynamics. CLEAN delivers great chording response, sounds richer and has more body here.
Depending on pickup style and strength you will have to watch for clipping as you are nearing the crossover or threshold point gain-wise
between clean and some saturation. Some of the most expressive best sounds possible in DRIVE and HI are to be found here, as
things start smearing nicely as they transition into more and more tube overdrive. As you approach 12:00 in DRIVE and HI there will
be plenty of saturation to push chords into clip and single notes hanging, but not so much as to start compressing the sound much.
The highest region of the GAIN control (2:00 – 5:00) is all about saturation, especially in DRIVE. Up here the signal gets much fatter
in the low end and the top end begins to recede to create a rounder, more compressed sound. Dynamics become a little slower with
lower peaks that are smoothed a bit and a more liquid feel is produced. In CLEAN the high end of the GAIN control produces some
great pushed sounds as the Input stage gives it up and starts to saturate. This range of the GAIN control turns CLEAN into a viable and
very expressive Mode for vintage-inspired single note Soloing. It also accommodates diode and tube based overdrive pedals nicely.
Both the DRIVE and HI Modes get wonderfully aggressive at the top-end of the GAIN control, unveiling their true potential for Crunch
Rhythm and Rock oriented soloing. There is ample gain up here to rip into any style you wish, save for perhaps Modern Metal, pump-
ing out thick stacked harmonic layers for chording and/or very expressive and nuanced overdrive for single notes.
At the highest GAIN settings you will notice the Tone controls have a slightly diminished effect on the sound. The notes are so satu-
rated and their character has been pre-determined by the way each Channel is voiced and how it reacts to this level of gain. May we
humbly suggest using the GAIN control no higher than you need it to achieve the style you want whenever possible in order reach
the best balance of overdrive and still retain the most active shaping power of the Tone Controls. Also, your attack will remain more
intact and definitive and not get over saturated and “slowed down”, which almost always leads to a more expressive and emotionally
charged sound.
NOTE: TONE CONTROLS: In the Fillmore, different and unique top-end frequencies are found in the TREBLE, MID and PRESENCE
controls. We suggest becoming familiar with what each of these powerful controls bring out or bury in the mix and learn to “swap the
top” as you see fit for different styles, characters, responses and attack center-points. Spending a little time early on with these three
powerful Tone and “dynamic” controls will allow you to dial up sounds quickly and easily and enhance your enjoyment of your amplifier.
TREBLE
While the GAIN is the most powerful control, the TREBLE comes in a close second. The TREBLE is responsible for
shaping the character of the entire Channel. It can overpower the rest of the Tone controls and therefore, its setting is crucial to a rich
and balanced sound in all Modes. Setting the TREBLE with care and taste in mind is critical for achieving a blend and assuring the
Tone control string works harmoniously.
In all three Modes the middle region of the TREBLE delivers the best balance and creates sounds that are plenty bright enough but still
rich and warm. We suggest that you start with the TREBLE at 11:00 and adjust up or down slightly until the desired blend is achieved.
However, circuits emanating from this “other side” of the MESA line and sharing that DNA tend to favor TREBLE and PRESENCE
control settings on the lower side for sounds in the warmer domain. Depending on guitar woods, pickups and technique, don’t be
surprised if you find great sounds below 12:00, or even occasionally very low on the TREBLE and PRESENCE, with the MID’s broad
Q that carries substantial top end providing all the top-end cut you need.
In DRIVE and HI, the MID control carries frequencies that are somewhat close to the TREBLE along with the upper mid and lower
mid frequencies it is centered around. Use this idiosyncrasy to your advantage and experiment with setting the TREBLE lower than
“normal” and running the MID up a bit and vice versa. Some very cool sounds can be found with the TREBLE lower, even very low
or “off” and the MID higher. Be sure to check this interaction between these two powerful controls, as it will be critical in achieving
the sounds you hear in your head.
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