Bass; 5-Band Graphic Eq X2 - Mesa/Boogie JP-2C Owner's Manual

BASS

Much like the MID, the BASS control responds like a typical Tone control and blends in a fairly wide slice of rich bottom end
to round out the sound. Internal switching that occurs when the different Channels are selected re-voices the shape of bass a bit to
help it sound more cohesive for the sound style. This difference is crucial to the sounds and a big part of their character.
As mentioned earlier in the Helpful Hints Section of this Manual, the BASS control can easily introduce too much low frequency
into the mix and overwhelm the sound, especially in the two high gain Channels (2 and 3). We recommend starting with the BASS
EQ 1
MASTER PULL PRES
MD FS
MID BASS
EQ 2
Conversely, lower GAIN settings, as might be used for Blues or Roots sounds can accommodate higher settings of the BASS control
and may benefit from such settings. With the GAIN set below 11:00, you may be able to run the BASS as high as 1:00 before the
attack starts to become compromised.
When in doubt, the tried and true MARK Series rule will serve you in good stead; As the GAIN goes up, the BASS should come down.
Applying this logic will usually get you in the ball park of a great sound pretty quickly. Honestly, this idiosyncrasy with the BASS control is
really the only thing to watch out for in the entire preamp as far as tricky settings. Keeping this rule in mind will help you avoid its pitfalls.
The only other trap many players fall into is not really unique to MARK Series, or even MESA amplifiers... its common on almost
every amplifier these days. Since we invented preamp gain more than 45 years ago, players have been applying too much of it. If
there was one word of advice we might lend, it is to use enough gain to get the job done and no more.
Excessive GAIN settings, along with increasing the likelihood of microphonic tube issues, tend to make the controls work less effec-
tively and compromise the fundamental attack of the notes. This can be an addictive and escalating habit until eventually, the sound
becomes all gain and no Tone. Granted, optimum GAIN settings depend on everything from Guitar woods to string gauge, pickups
to picks, fingers to frets. But addictive as the feel of liquid creamy gain can be, try to remember that the sound is important as well.
You don't want to dial in so much gain that the sound becomes mushy and indistinct. We suggest getting into the habit of exploring
the lower settings of the GAIN control frequently, just so you are continually referencing what the sound and feel is like when there
isn't so much saturation present in the mix. It will keep your technique "honest" and your sound more pure and exciting... guaranteed.
5-BAND GRAPHIC EQ x 2
that was in a groundbreaking feature back then and continues to be one of the trademark components of the MARK Series sound... the
FX
MD
EQ 1
REV
80Hz 240 750 2200 6600
MD/FS
Welcome to EQ Hollow... your Five-Band Graphic Paradise! Seriously though, the JP-2C is the only other MESA besides the QUAD
PREAMP ever to incorporate TWO Graphic Equalizers and provide independent Five-Band equalization control for any two of the
three Channels–or all three if you can use the same EQ SLIDER setting on one of the EQs to create sounds that work for you in two
Channels. These EQs are identical and provide the same adjustable frequencies, cut/boost gain range, and shaping potential. Both
EQs can be applied to any of the 3 Channels and this is done with the single EQ SELECT mini-toggle riding within each of the Chan-
nels. The center position labeled MD/FS bypasses both EQ's, while the upper and lower positions select which EQ is to be assigned
to a given Channel. EQ 1 is to the Left and EQ 2 is to the Right, when facing the Front Panel.
The EQ assignment within a Channel (all the Channels) is stored under the Channel bus in the JP's processor used for Midi control,
so once you have decided how you want to apply the Graphic EQs to your three footswitchable Channels, all you have to do is
choose a Midi Program number on your controller of choice, go to the Channel/EQ combination of your choosing and trigger the
CH 3
EQ 1
PULL GAIN MASTER
control set at approximately 10:00 in Channels 2 and 3 and work with the sound from there to determine
MD
TREBLE
MID
your optimum blend of low frequencies. Don't be afraid to run the BASS very low in Channels 2 and 3 for
EQ 2
higher GAIN settings, as the tracking of your pick attack will be tighter and faster if you follow this scheme.
Remember that you can add low end with the two lowest bands of the Graphic EQ to obtain more bottom
end late in the signal chain that won't be as detrimental to the attack characteristics.
All MARK Series amps going all the way back to the MARK I have included a powerful shaping tool
CH 1
5 Band Graphic EQ. Many of the MARK Series sounds that have become classics were
FS
MD 2
achieved by applying the Graphic EQ and radically altering the mid-pronounced voice
CH 3
they inherently have in favor of a more "scooped" midrange voice. The most popular of
EQ 2
STANDBY
these altered sounds by far, is the dropped-mid "V" curve that makes everything sound
SHRED 2
MD huge and three dimensional. Here in the JP-2C, we've doubled the fun!
80Hz 240 750 2200 6600
SRD 2+3
FX
MD
PULL PRES
FS
EQ 1
BASS
REV
80Hz
MD/FS
I
O
POWER
I
O
PAGE 14
240 750 2200 6600 80Hz
CH 1
FS
MD
CH 3
EQ 2
SHRED 2
MD
240 750 2200 6600
SRD 2+3
2
O
POWER
STANDBY
O