Reverb; Power Select - Mesa/Boogie CALIFORNIA TWEED 6V6 4:Forty Owner's Manual

right in the middle of your amplifier. Try to use processors of good quality that utilize good input and output circuitry as well as effects
processor(s) or engines.
Some purists like to run the MASTER all the way up and raise the GAIN until they reach their desired sound. The thinking there is that
this scenario achieves the purest sound. In theory, they believe this resembles removing the control altogether from the signal path,
and in a way it does. However, most all the "vintage non-master" amplifiers they are seeking to emulate have discrete resistors in
that place in the circuit anyway to adjust or "tune" the output of the preamp to the power section sensitivity.
The MASTER is nothing more intrusive (in that regard) than a variable resistor(s) that offers an infinite range of settings possibilities
and makes the amplifier many times more versatile with no sonic penalty. If you prescribe to this old school approach, then by all
means, use it... it won't hurt the amplifier. However you will be severely limiting the potential sounds you can achieve by removing
the limitless great sounding combinations of GAIN and MASTER settings and also perhaps be challenged when trying to achieve
normal or optimum levels at the Input of any processing you might try to use in the EFFECTS Loop.

REVERB

The California Tweed incorporates an analog all-tube, spring Reverb circuit that produces lush, ambient Reverb effects
from subtle to fully-drenched "Surf" levels that really enhance its vintage-oriented character. This control is the easiest to operate
on the entire amp because what you hear is exactly what you get and, other than the physical interaction of volume and whatever
harmonic resonances that might create, it is largely autonomous in nature and really shares no duties.
That said, much like the BASS, the more extreme the setting the GAIN control is, the more sensibly the Reverb may want to be
applied. Luckily, this seems to follow the stylistic boundaries to a certain extent, in that most players who use extremely gained up
sounds, tend to rely more on Delay than Reverb as their main form of adding a spatial quality to their sound. To be fair though, that
notion may not apply so much to overdriven rhythm playing in say, a Blues or Roots style, especially when it's time to be dramatic.
In the traditional world of Clipped Clean, where clean amps cranked up produces the desired flavor, the sound of Reverb Tanks and
their input being overdriven, along with the analog circuitry feeding them, is an integral part of the authenticity and vibe. Feel free to
utilize the REVERB set high for this application... crank the preamp's GAIN control and set the REVERB to your desired saturation level.
Just remember that Reverb is essentially a mechanical moving part at its core and therefor affected by nearby and/or internal physical
elements such as vibration, both in the amp from high volumes and externally, and also by certain frequencies, as everything that
vibrates can potentially resonate with other things vibrating. The most clear example of this is Reverb set at very high levels "feeding
back" on certain notes.
We go to get lengths to ensure your amplifier is as impervious to these anomalies as possible during the build and play testing pro-
cess, but the real world of long Road Trips in Trucks or Airline Flights, loud Gigs with excited Drummers and Bassists and even the
flexing movement of Stages or loud PA systems with loud Monitors can all subject the Reverb's mechanical components to rigors
that tax the limits of it's design. Some of these can be avoided or minimized by careful transport, wise setup and vibration isolation
within your playing environment, but should you experience any vibrational and/or mechanical issues, try first reducing the REVERB
control, or even some of the other Controls, to see if perhaps a slight adjustment of settings will eliminate or reduce the anomaly.

POWER SELECT

As mentioned in the Overview of this Manual, your California Tweed presents the next evolutionary step
in traditional amp power sections.This dream-realized flexibility in power rating is both revolutionary and also extremely useful. It
features the full compliment of gigable wattages inform mid power to low, 2 Operating Classes, Class AB Pentode and AB Triode and
3 Wiring Options (listed below) are provided;
Throughout these popular wattage levels almost any musical style or venue can be accommodated, and with sensible adjacent op-
tions, you'll have room to move up or down the power scale seamlessly on the fly in the heat of the performance with the handy Front
Panel POWER SELECT Rotary control.
With this powerful advancement in power technology, tuning the headroom and riding the threshold of sweet, musical clip-ability is
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