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only the sections you are interested in, and yet still where necessary, get important points you should know
about the California Tweed. We apologize if this gets annoying for the cover-to-cover reader, but even they
may appreciate it sometime in the future when referencing this guide quickly for a specific topic.
•
We suggest using the NORMAL input first to explore the amplifier, as it will provide the full range of sounds
possible, including clip/overdrive sounds.
•
For maximum headroom and clarity for clean sounds, try the LOW input and the 20 Watt setting on the
Multi-Watt™ rotary. This INPUT may sound different, be slightly darker sounding and have less mid punch,
but the preamp will tolerate more input signal before the onset of tube saturation/clipping, which may or
may not be desirable depending on the stylistic application.
•
Beware of high settings on the BASS control, especially when the GAIN is set high. Too much BASS will
produce a flubby, indistinct attack and "slow" the response time. A basic rule regarding the BASS control
might be this; As the GAIN goes up...the BASS should come down.
•
The GAIN and TREBLE controls are the most powerful tone shaping controls and should be used with
taste. They determine much about the attack characteristic and the overall personality of the sound. Many
of the great sounds will find these two controls in their middle ranges.
NOTE: When possible, avoid setting the TREBLE high (above 2:30) when the GAIN is set high, as this
can potentially bring about the tendency for a slightly microphonic tube to ring or squeal. Reducing
TREBLE and even PRESENCE settings when the GAIN is set higher helps in avoiding this annoyance.
•
Your amplifier will sound better, and also feel better to play, if you have at least one speaker cabinet touching
the floor you are standing or sitting on while playing. The coupling effect and especially the transmission of
bass frequencies, will cause the amp to sound fatter and the strings to feel more substantial and tangible in
your hands when the amp (or cab) sits on the floor. Wood floors (like stages) are really great! Let's face it...
the guitar can be one of those instruments that rarely feels the same way two days in a row, night to night,
from room to room... and we can use all the help we can get. This simple practice usually helps... with the
only exception being a stage filled with many live mics. Sometimes then you are forced to lift the amp to
avoid the coupling effect creating resonances that will cloud up a mix or cause things to "runaway" in the
low end in the house sound or stage monitor system.
•
Use the STANDBY switch every time you take a break and/or power-up (from cold or hot) during set
breaks, cable hook-ups and anytime you are not playing for a few minutes. Doing so will increase the
toneful life of your tubes.
•
Circuits emanating from this "other side" of the MESA Line (as in non-MARK amplifiers) like your California
Tweed, tend to favor TREBLE and PRESENCE control settings on the lower side for sounds that are balanced
and/or in the warmer domain. Depending on guitar woods, pickups and technique, don't be surprised if you
find great sounds below 12:00 on the TREBLE and PRESENCE.
•
In the California Tweed, 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 the enjoyment of your amplifier.
•
While the California Tweed's output section is not overly sensitive to impedance matching, its sound
is affected by it. We suggest auditioning the 4 Ohm speaker output on the two lowest, 10 and 1 Watt,
power selections as the 4 Ohm output produces different characteristics. The sound may be brighter and
punchier in the 8 Ohm jack, but regardless, leaving it in the 4 Ohm output will not harm the amplifier and
for some sounds or players, the mismatch may be preferable.
PAGE 6
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