Ultra Channel; Gain; Bass, Mid, Treble; Presence - Hughes & Kettner SWITCHBLADE TSC Head 100 Manual

2.3 LEAD Channel
The LEAD sound is the first choice for hard-rockin', classic British high-GAIN
tone to fuel Leads, power chords and riffs. Courtesy of its fine-tuned compression,
this Channel delivers the lubricant that makes those slick riffs and licks fly off
your fingertips.

2.4 ULTRA Channel

American high-Gain sound with sumo-sized low end and snarling top end. The
ULTRA Channel delivers the kind of merciless performance that is sure to delight
metal meisters and dropped tuning aficionados. Ultra is also an alluring alternative
for guitarists seeking to super-size their sound with a high-calorie topping of rich
tone.

2.5 GAIN

The GAIN knob determines Input sensitivity and thus the Level of saturation
and distortion. SWITCHBLADE TSC's GAIN offers a special feature: Just before
the knob arrives at the far right position, a BOOST stage kicks in (and the red
LED lights up). Now, when you see Boost on other amps, this usually means all
frequencies are boosted. But SWITCHBLADE TSC's Boost amplifies selected
frequency ranges for each Channel to attain creamier tone.

2.6 BASS, MID, TREBLE

The voicing section is tweaked to accomplish the best, most efficient sound-
shaping for each Channel. Getting right to the heart of the sonic matter, every
knob addresses each Channel's characteristic frequency ranges. Like on every
tube amp, the knobs of a Channel influence each other. That is, if you boost
the Treble, the midrange is cut and vice versa. This puts a much greater range of
subtle tonal variations at your fingertips.

2.7 PRESENCE

This knob determines the overtone content. Unlike a TREBLE knob, which
boosts whatever high frequencies are available, PRESENCE actually determines
the amount of harmonic overtones generated by the amp. Usually a PRESENCE
knob controls the overtone content of the overall amp rather than of individual
Channels. Courtesy of SWITCHBLADE TSC's programmability, you can define
PRESENCE settings not only for each Channel, but also for each Preset.

2.8 VOLUME

Use the Channel VOLUME knob to adjust the given Channel's Volume and
balance it out with the other Channels' Levels. On SWITCHBLADE TSC this
knob serves another vital purpose: It lets you store the same sound at different
Volumes to any of the 128 Presets, for example, a softer version for rhythm and a
louder setting for Leads.
Note: The Channel VOLUME is a different breed of knob. It adjusts the
Channels' relative levels, and is tweaked to help you quickly dial in the best
balance. Unlike a conventional Volume knob, it can't be turned all they way
Down; it merely boosts or cuts the given Level. This design makes musical and
practical sense: The Clean Channel normally requires a much higher Volume
Level than a distorted Channel, which is why it is about as loud as the other
Channels when the knob is set to the center position. That's why the 12 o'clock
position is always the best starting point for adjusting Volume.
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Digital Effects

SWITCHBLADE TSC offers three independent digital effect sections that can be
used simultaneously. Like Channel settings, all effect settings are programmable.
Note: The internal effects are added to the signal via an intelligent analog circuit.
Effect routings in no way comprise the integrity of SWITCHBLADE TSC's tube
tone, which remains intact in all its quality.
3.1 REVERB VOLUME
SWITCHBLADE TSC's Reverb is modeled to match the warmth and musicality
of classic spring Reverbs. A genuine improvement over its analog forebears, it
automatically adjusts the Reverb tail to suit the setting: The more REVERB
VOLUME you add to the signal, the longer the REVERB time.

3.2 DELAY

The Delay section's VOLUME, TIME and FEEDBACK knobs afford you total
control over all parameters. This lets you dial in everything from rockabilly style
slap-back echo to U2-inspired Delay extravaganzas and Queen-like bombast.
3.2.1 VOLUME
Adjusts the volume of the repetitions, sweeping from all the way off to just as
loud as the original signal.
3.2.2 FEEDBACK
Adjusts the number of repetitions from one to infinite.
3.2.3 TIME
Adjusts the time to the next repetition from 80 ms to 1.4 s.
TIP: TIME can be remote-controlled via the included FSM 432 using the TAP
function. This lets you respond quickly and conveniently to timing changes.
You'll find TAP to be a very helpful feature, particularly on stage! More on this in
chapter 6.1.3

3.3 MOD FX

The three most important modulation effects are CHORUS, FLANGER and
TREMOLO, and they're all on board, readily activated via a single knob.
CHORUS is active in the first third, FLANGER in the second third, and
TREMOLO in the final third of the control range. You can shape the effect
within its assigned third of the control range using this knob. The parameters
were tweaked to make musical sense: A twist of the knob is all it takes to get
the desired effect. Twisting clockwise adjusts the rate of the modulation effects.
Modulation depth is adjusted automatically according to the rate so that every
knob position gives you the best effect sound. To switch modulation effects off,
simply twist the knob to the far left-hand position.
3.3.1 CHORUS
At slow settings, the CHORUS sounds thick and lush, providing a great sound
for buoyant ballads. And because effect depth is adjusted automatically, fast
CHORUS settings don't evoke that dreaded seasick tone.
3.3.2 FLANGER
Slow FLANGER settings yield a stately sweeping whoosh effect, while faster
settings give you swirly effects often heard in contemporary rock and pop tunes.
3.3.3 TREMOLO
The classic TREMOLO effect is great for dialing in typical sounds of the '60s as
well as contemporary effect sounds.
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