Drive/Tight - Mesa/Boogie TC50 Owner's Manual

The middle region (10:00–1:00) is where the punch and attack begin to come on with more urgency and this is where mahogany
guitars really like to see the MID set for adding the cut and definition. Here the top end begins to show itself in the mix of the MID
controls' spectrum and chording sounds start to chime and slash with a more forward and very present character.
From here on up (1:00–5:30) the MID introduces an aggressive range of sounds that are still full, but quite forward as the dominant
frequencies become those present under control of the MID. In this range you will likely have to increase the BASS to add back in the
richness and warmth that gets overshadowed when the MID control is set high. If you like the attack and urgency found in this range
of the MID, all the other controls (except maybe the MASTER, which you may have to back down as the sound gets more forward)
may have to be set higher to keep up with the MID dominant curve. This is fine, although there will reach a point of diminishing return
as the headroom in the preamp gets eaten up by this tonal arms race and you begin to clip the preamp with the high signal from the
Tone control string.
For gain sounds in Channels 2 and 3, a similar story unfolds as the MID is increased. Lower settings (7:30 – 10:30) will produce
wider sounding, more elastic feeling chording sounds and the single notes will have a creamier, smoother character. High harmonics
created by the gain and controlled largely with the TREBLE, will put a patina of three-dimensional haze on things that smears nicely
with vintage soul.
As the MID is increased past the 10:00 range, cut and bite begins to creep in along with the chesty midrange punch. This is where
some classic Crunch is found in the middle range of the GAIN control. This MID kick is an integral part of the impact and tight-tracking
accuracy of this iconic mid-gain sound that has been a Rock staple for the last four decades. In Channel 3, the single notes leap
forward with greater authority, speed and the warmer, juicier sound begins to give way to a fire-breathing blow torch ... especially at
high GAIN settings.
Passing the 1:00 mark unleashes the brash attitude pent up in the MID frequencies and top end joins the party in a big way. Here is
where you look for the most forward and aggressive attack over a wider range than that of TREBLE control. The feel on the strings
will become less forgiving and your playing will be put under a microscope in the time domain. This region is great for pushing Rock
rhythm sounds to the forefront of a mix in Channel 2, no matter how much gain you thicken it up with on the GAIN control. Single
note solo sounds in Channel 3 will be lightning fast and deadly accurate and certainly will be heard by all, as they will have a definite
point of origin in the bar line.
One suggestion, or maybe more of a word of caution... the MID control contains frequencies that can be a little tough on the ears if
not used with some discretion. Be sure to put your head down by the cabinet at some point and sample what you are dealing out
to the audience and/or the microphone. You might be surprised how much impact – and possibly even pain – can be dialed in with
higher settings of the MID. Unless you are out to hurt people, which is never a good idea, you may find the middle to lower range
of the MID gives you plenty of attack and definition but still sounds balanced and warm and lets others enjoy your playing without
wincing at every note.

DRIVE/TIGHT

This switch re-voices the midrange, adding a boost in the medium to upper midrange frequencies usually associ-
ated with punch and attack. It also compresses the top end a bit and tightens the low end and all these characteristics in combination
have the effect of tightening the sound, thus its name. In Channel 1, the effect is experienced as a slight overdrive effect. To avoid
confusion and unnecessary phone calls to our Customer Service Department, this feature is labeled DRIVE.
In Channel 1, the DRIVE is effective at adding the extra push and subtle saturation for Blues or Roots sounds when the GAIN control
is run in the top of its range. It provides the little bit of extra gain needed to push this threshold sound into a more viable clip for driven
rhythm work or jabbing solo phrases.
For gain sounds in Channel 2, the TIGHT feature tightens the low end and adds percussive midrange gain. This can also be useful for
Blues sounds in the lower range of the GAIN (below 12:30) or when the Gain is above 1:00, adding aggressive attack and controlling
the low end for Crunch Rhythm sounds. Channel 3 high gain sounds benefit from the enhancements found in the TIGHT voicing as
the low end control and mid bump can add articulation to really high GAIN settings (extreme saturation in the higher range) that can
otherwise be too slow, are oversaturated or are just in need of some added focus.
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