PAGE 6
FrONT PANeL: CO N T r O L S & Fe A T u r e S (Continued)
MID:
The MID control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as
that of the TREBLE control, it plays an integral part in achieving any sound in your Express. It is capable of changing the feel dramati-
cally as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
Most players tend to lean in the direction of lower MID control settings (7:00 - 11:00) where a scoop in this region pro-
duces girth (by letting the Bass become a little more dominant) and a lack of punch lends a more compressed, even
feel to the strings and therefore less apparent resistance to the pick. As the MID control is increased, (11:30 - 1:30) the
sound is rounded-out and filled-in with a focused mid attack appearing rather quickly. As you would guess, the feel starts
to change - becoming more resistant. Above this region the MID control could be used to compensate for either weaker
pick-ups or for times when a specific deficiency is produced by either an extremely high setting of other tone controls,
or a physical anomaly in the room. While these MID control settings (2:00 - 5:00) can introduce added gain and create
enhanced focus, the trade-off will be a stiffer, more forward, less compressed feel.
BASS:
The BASS control in your new Express works similarly in both channels in that it determines the amount of low frequen-
cies present in a sound. However, the style of lows it mixes in changes from channel to channel. Like the MID control, it falls in line
signal-wise after the TREBLE control and the same scheme applies. When the TREBLE control is set high, the effectiveness of the
BASS and MID controls is reduced. If the TREBLE control is set low these two controls become dominant.
For the most balanced sound and a balance of power between the three rotary tone controls, try to use the TREBLE
control in its middle ranges. This scenario produces nearly equal representation of all the frequencies on the tone controls
and provides a great neutral starting point for further tweaking.
Note: The BASS control in both channels of your Express is very powerful and though we have taken steps to ensure
a balanced tone is easy to achieve, it is wise to blend with subtle nuance in mind. This is especially true in Channel 2
when using either the regular Channel 1 style gain circuitry cranked, or the DRIVE circuitry for higher gain lead sounds. A good rule
to follow is this; as you increase the GAIN reduce the BASS. Following this scheme will retain balance and keep the attack of the
notes tight, dynamic and touch sensitive.
REVERB:
Your new Express amplifier is equipped with a rich, natural sounding all-tube Reverb circuit. The REVERB control enables
you to dial-in just the right amount of Reverb to be mixed with the dry signal. It is normal for extreme settings of the REVERB control
to slightly alter the character of the amplifier as the voicing of the Reverb circuit becomes more dominant in the mix.
NOTE: Avoid using high setting the REVERB control when High Gain and Treble settings are in use. This reduces the
likelihood of annoying microphonic problems occurring.
INPUT
GAINTREBLE MIDBASS REVERB MASTER CONTOUR
POWER
ON
ON
STANDBY
CLEAN
ON
CRUNCH
FT SW
5 WATT
CLASS A
CH 1
BLUES
ON
CH 2
FT
SW
BURN
FT SW
O
F
F
O
F
F
INPUT
GAINTREBLE MIDBASS REVERB MASTER CONTOUR
POWER
ON
ON
STANDBY
CLEAN
ON
CRUNCH
FT SW
5 WATT
CLASS A
CH 1
BLUES
ON
CH 2
FT
SW
BURN
FT SW
O
F
F
O
F
F
INPUT
GAINTREBLE MIDBASS REVERB MASTER CONTOUR
POWER
ON
ON
STANDBY
CLEAN
ON
CRUNCH
FT SW
5 WATT
CLASS A
CH 1
BLUES
ON
CH 2
FT
SW
BURN
FT SW
O
F
F
O
F
F
To Next Page
Loading...
Need help?
General
