Gain; Overdrive; Bass - Mesa/Boogie Big-Block 750 Owner's Manual

FrONT PANeL CONTrOLS:
OVERDRIVE: (Continued)
soloing options where the added gain is merely thickening, rather than saturating the signal. Because this circuit has its own MASTER
control, stepping out can be easy and controllable. You won't have to rely on band dynamics or house sound engineers to give you a
little volume bump when you need it.
Setting the OVERDRIVE control above 12:00 reveals the higher gain potential of this circuit. Here a wide range of more obviously
overdriven sounds appear that can be used to mimic an analog synth or provide the grinding aggression for a integral part in a heavy
song. This range showcases how amazingly tight the overdrive tracks and makes this mode an essential part of the BIG BLOCK'S
sonic power and magic.
Note that the GAIN control is still active when the OVERDRIVE is switched into the signal path. The GAIN control is wired in series
with the OVERDRIVE and therefore, it can be used to further fine-tune the amount of overdrive present in the mix. The effect of the
GAIN control is more apparent at the lower region of the OVERDRIVE control, where sweeping the GAIN is very noticeable. At higher
OVERDRIVE settings it has a fairly diminished effect. Generally speaking, the sound will be brighter and more scooped in the mids
at lower GAIN settings, while higher settings will produce a fuller, richer sound with less emphasis on upper harmonics.
We hope you find the OVERDRIVE mode a fun and musically expanding addition to an already amazing sounding preamp. Over time
we believe you will come to find it an invaluable part of your sound.

GAIN:

This control determines the overall character of the input sensitivity. The lower regions of the control (below 12:00) lend
greater headroom and provide a scooped, brighter personality. The upper harmonics come through more prominently in this area
S I M U L S T A T E TM B A S S A M P L I F I E R
INPUT TUNER

OVERDRIVE

ACTIVE
PASSIVE MUTE
produce subtle, but important differences in the attack characteristic which in turn, feel like changes in the time domain.
By experimenting with the amount of gain, you can actually voice the amp to feel as if it bounces just ahead of the groove - or lays
back a little deeper to produce a more Fatback feel. The difference in attack and sustain produces striking results as to how the bass-
ist - and in fact the whole band - perceives things in the time domain.

BASS:

This control is responsible for the basic mix of low frequencies in the tube pre-amp. The BASS control is an active shelving
type control as opposed to a passive style control. This means that a center Q point has been chosen and this control allows you to
OVERDRIVE
GAIN BASS
In the lower region of the OVERDRIVE control, you will find that a subtle boost can create footswitchable
of the control making the top end sound more transparent and sweet. This region is
especially useful for funkier stuff when thumbing is in order. It keeps the rubber- band
feel intact in the lows and mids while voicing the snap just high enough to avoid
harshness, or the dreaded "gak" when the G string is plucked.
As the GAIN control is increased past 12:00 a richer, more "well-rounded" voice
becomes dominant and headroom starts to diminish in increments until eventually, a
GAIN
tube overdrive sound appears as the 12AX7 input tube is driven into saturation.
The region between 12:00 and 2:30 is where the classic, warm tube sound resides
and within this narrow band you will discover a world of tone. Tiny increments here
either boost or cut that frequency. This control differs from the low bands of the Parametric in that it
has a broader Q point with a more gentle ramp as opposed to the Parametrics' narrow Q that is used
with a separate GAIN control.
The BASS control is actually a gain and frequency control all rolled into one with the Q center
at 55Hz and harmonics in both low and high directions are affected because of its broader band
(Continued)
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