Mid; Bass; Presence - Mesa/Boogie Dual Rectifier Road King Amp Owner's Manual

CONTROLS:
MID: (Continued) therefore less apparent resistance to the pick. As the MIDDLE 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 MIDDLE 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
CLEAN
FAT
TWEED
GAIN
CLEAN
FAT
BRIT
As the MIDDLE control in CHANNELS 1 & 2 are swept past 1:00, it quickly starts to add gain in these midrange frequencies adding
cut and punch. As the top end of the control is reached, ( 3:00 - 5:00 ) it becomes an additional gain control capable of taking both
CLEAN and TWEED modes to extremes. Experiment with this cranked region in conjunction with conservative settings of the other
tone controls to balance both sound and feel. While this added flexibility may make CHANNEL 1 & 2 MIDDLE control a little more
tricky to learn at first, it will become quite valuable as you start to realize the power of this super versatile channel.

BASS:

This control works similarly in all four channels in that it determines the amount of low frequencies present in a sound. However, the
actual frequencies and style of lows it mixes in changes from channel to channel. Like the MIDDLE 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
MIDDLE controls is reduced. If the TREBLE control is set low these two controls become dominant.
CLEAN
FAT
TWEED
GAIN
CLEAN
FAT
BRIT

PRESENCE:

The PRESENCE control is a high frequency attentuator that is placed at the end of each channels pre-amp stage and affects
frequencies higher than those of the TREBLE control. It acts independantly of the other rotary tone controls and is crucial in voicing
the Channel. It is a powerful global tone control. Lower PRESENCE control settings darken and, in fact compress the signal which
works well to fatten single note solo sounds, giving them girth and focus. Some of the best lead sounds in your Road Kings will find
the PRESENCE control in its lower regions, where a balanced, vocal response is achieved.
(Continued)
TREBLE

MID

TREBLE MID
these MIDDLE 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.
CHANNELS 1 & 2 utilize a different MIDDLE control than that of
the CHANNELS 3 and 4 with a custom-designed taper and value. In
its low range ( below 12:00 ) it functions as a normal midrange control
with a taper suited to blending fine increments of these frequencies.
Most players lean toward a fairly radical scoop ( 7:00 - 10:30 ) for
clean playing, preferring to let Treble and Bass remain dominant, thus
producing the signature sparkle and breath essential for a pristine
clean sound.
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 pro-
duces nearly equal representation of all the frequencies
on the tone controls and provides a great nuetral start-
ing point for further tweaking.
BASS
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