Cabclone D.i. (Xlr Output); Lift/Ground; 4/-10 (Level) - Mesa/Boogie JP-2C Owner's Manual

pays tribute to our Rectifier® Traditional cabinet. Here the mids are scooped and the top end is, for the most part, intact to create a
huge, wide sound. This position shines for overdrive and crunch rhythm work where you need big "tuned" lows and smooth vintage-
inspired lead sounds. The CLOSED BACK mode is the first thing to try for high gain sounds, especially when using a combination
of live speaker and CABCLONE DI direct. The added top end a reactive load (live mic'd speaker) may impart on the sound is nicely
balanced by the fatter, tuned response of the CLOSED BACK mode.
When blending a live cabinet mic'd and the CabClone direct, you can also try selecting the Cabinet Voicing option that has an opposite
(or different) response to that of the cabinet you are mic-ing for a blend-able difference later when mixing.
Within these three selectable Cabinet Style Voicing Options, you'll find the ability to tune the CabClone D.I.'s response to work well for
almost any sound style. Keep in mind that adding the live speaker may affect the sound of these VOICING choices... making things
more reactive dynamically and perhaps brighter as well, depending on the inherent characteristics of the speaker and/or cabinet that
you have chosen.
NOTE: Remember that the CabClone circuit gets its feed from the SPEAKER Output and whatever cabinet (Load) you are using
"reflects backwards" and has an effect on the characteristics (both in regards to dynamics and frequency response) of the amplifier's
power section.
CABCLONE™ D.I. (XLR OUTPUT)
This male 3-pin XLR Output provides a balanced signal for direct interface to a Console,
Preamp or possibly even a Recorder. Use a standard 3-Pin XLR mic cable (of any reasonable length) to connect to your direct interface
destination of choice. Next choose whether you wish to record with the CabClone speaker compensated signal alone, or whether you
wish to blend a live speaker cabinet with this Direct signal using the SPKR OFF/SPKR ON mini toggle to the left.
As the CabClone circuit is passive, there is no dedicated Output Level Control, so the Channel MASTERS and the Power Select
(100/60) switch will determine your send level strength at the CabClone D.I. Output.
NOTE: It is a wise practice to get in the habit of beginning every Direct session with the JP-2C's Channel MASTER Controls set to
"0" and the STANDBY switch set to "0" (switch down). This will help avoid unpleasant and/or embarrassing level surges through the
Console and/or Playback Monitors should the Faders (INPUT Attenuator) be up already or set too high.
It is ALSO wise to "zero-out" the Console or Preamp/Recorder INPUT Trim to help avoid similar unpleasant surprises.

LIFT/GROUND

This switch allows you to lift the CABCLONE BALANCED D.I. Output's XLR jack (PIN 1) GROUND, from
Circuit and Chassis GROUND and in many cases (but not all) remove hum caused by a ground loop. In silent recording environments
every little noise stands out and ground loops can produce one of the more common (and annoying) sources of hum and/or buzz. It
is not a cure-all to this common problem by any means, but it can often make a positive impact on the noise floor and at least help
you rule out one common source of "hum".

+4/-10 (LEVEL)

This switch provides the two "industry standard" choices for output level strength, -10dB and +4dB. The -10
position (switch down) provides an Instrument Level signal which is an industry accepted lower signal level that works well with many
home recording Consoles and systems, as well as the Input stages of some Effects Processors. The +4 setting (switch up) is a Line
Level signal strength used in professional recording environments and provides a much stronger signal strength for a given amplifier
setting.
You can use the TRIM/INPUT ATTENUATOR in the channels on your Console to allow acceptance of either setting (signal strength),
with the prevailing ideology leaning toward using no PAD on the Console's Input and the least amount of attenuation possible at the
TRIM/INPUT. This almost always creates the best signal to noise ratio and the cleanest, purest signal. In other words, use the -10 set-
ting if you are running a Home level system, unless, because of lower output settings on the amplifier, you are forced to turn the Input
TRIM all the way up to achieve a good signal strength (which on lower priced Consoles can mean adding noise from the Console's
op-amps). In that case, you could try the +4 setting and reduce the Input TRIM on the Console to arrive at a better signal to noise ratio
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