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MAXIMUM SATURAHON'V rhythm & BLUES
HIGH
GAIN
INPUTS
LOW
GAIN
®
JTS
®
-LEAD GAIN-
lO: QyQ'
□
1D
□
10
D
10
PULL BRIGHT SATURATONtm POST
NORM. GAIN
PRE
PULL BRIGHT
-EQUALIZATION-
4^6
4^6
4^^
R m'S
OhOhO-O
f—1
-It—I
n
-in
—12
12 +
HIGH
PULL THICK
PRESENCE
MASTER
4_^5e
Q
I^^IO
SOFT SATURATION V COUNTRY ROCK
ADJUST
TO TASTE
HIGH
GAIN
INPUTS
LOW
GAIN
®
UTS
®
-LEAD GAIN-
4 5 g
4^5b
OHQrO;
1—1
/I/—I
n
^n
n
-in
□
lO
PRE
PULL BRIGHT
saturationtm
post
NORM. GAIN
■O;
PRE
PULL BRIGHT
-EQUALIZATION-
4 S^s
4 S. G
4^^
3^^
OhOhO^^-O^
-lo
104.
PRESENCE
O:
REVERB
BLUES / COUNTRY
ADJUST
TO TASTE
HIGH
GAIN
INPUTS
LOW
GAIN
®
JTS
®
-LEAD GAIN-
¥r\
?
Bssa
■S2a
□
ic
a
io
G
io
pre
PULL BRIGHT SATURATIONjm POST
NORM, GAIN
pre
PULL BRIGHT
-EQUALIZATION-
a4^^B 4^?B 3^^^
r0H0t°=0=
n
-in
i^^^^^n
n
-in
—12
12 +
HIGH
PULL THICK
presence
O:
ROCK/JAZZ
ADJUST
TO TASTE
HIGH
GAIN
®
INPUTS
LOW
GAIN
-LEAD GAIN-
00: Q
G
1G
G^^^
G
1G
PULL BRIGHT SATLIRATIONtm POST
NORM. GAIN
■O:
PRE
PULL BRIGHT
-EQUALIZATION-
4^5 B
4^^B
i0"0}0:eC):
_ -in
m j.
HIGH
PULL THICK
PRESENCE
MASTER
4^ES
O:
REVERB
ADJUST
TO TASTE
ACTIVATE
SET UP AND OPERATIONS INSTRUCTIONS
The procedure for arriving at optimum controi settings with any particular guitar and equalization characteristics are as
follows:
1.
Plug into the high or low gain input jack.
2.
Set the post gain control somewhere in the middle of its range.
3.
Set the pre gain control somewhere in the middle of its range.
4.
Adjust the Saturation'" control for the desired amount of gain/compressed clipping.
5.
Readjust the pre gain controi to assure adequate drive.
6.
Readjust the post gain control just below the point at which the power amp/ speaker reaches the clipping point and adds its
own harmonics to the predistorted signal. This setting is readily noticeable since the additional harmonics are audible when the
power amp reaches its maximum output level and will not necessarily be pleasing to the ear.
NOTE:
TO ACHIEVE PROPER SATURATION'" CHARACTERISTICS FROM YOUR AMPLIFIER YOU MUST UNDERSTAND
THAT THE MAJOR PORTION OF THE SIGNAL PROCESSING CiRCUIT IS LOCATED IN THE PREAMP AND THAT,
WHEN THE POST GAIN IS SET HIGH ENOUGH (GENERALLY "5" OR HIGHER), THE POWER AMP THEN BEGINS
ADDING ITS OWN HARMONICS TO THOSE ALREADY BEING GENERATED BY THE SATURATION'" CIRCUITRY.
EXPERIENCE HAS PROVEN THAT THE BEST OVERALL RESULTS ARE OBTAINED WHEN ALL THE OVERLOAD IS
TAKING PLACE WITHIN THE SATURATION'" CIRCUITRY, WHILE THE INTERNAL POWER AMPLIFIER/SPEAKER
REMAINS BELOW THE CLIPPING POINT.
WHEN PROPERLY SET UP THE SATURATION'" FEATURE OPERATES THE POWER AMP JUST BELOW MAXIMUM
POWER (ITS CLIPPING POINT) ADDING TOTAL AND SMOOTH OVERLOAD CHARACTERISTICS. WHEN POWER
AMP CLIPPING TAKES PLACE, THE OUTPUT DOES NOT BECOME LOUDER, JUST MORE DISTORTED AND
SOMEWHAT LESS PLEASING.
SPECIAL NOTE:
CONSIDERABLE EMPHASIS HAS BEEN PLACED ON THE OPTIMUM SETTING OF THE POST GAIN CONTROL IN
ORDER TO ACHIEVE SMOOTH SATURATION'" EFFECT WITHOUT POWER AMP OVERLOAD. IF, HOWEVER, A
NORMAL GLEAN USAGE IS DESIRED THE OPTIMUM SETTING OF THE POST GAIN CONTROL IS "10" (FULL
CLOCKWISE). THIS SETTING PROVIDES THE MAXIMUM SENSITIVITY FOR THE POWER AMP AND YIELDS THE
MAXIMUM HEADROOM IN THE PREAMP AND TONE STAGES, THEREBY PREVENTING ANY PREMATURE FRONT
END OVERLOAD BEFORE THE POWER AMP ITSELF CLIPS. NOTICE THE OBJECT HERE IS JUST THE OPPOSITE
OF THAT OF THE SATURATION'" EFFECT. THE AUTOMIX'" CIRCUITRY ALLOWS THE PLAYER TO ACHIEVE
DISTORTION (SATURATION'") IN THE LEAD CHANNEL WHILE, AT THE SAME TIME, ATTAINING A CLEAN
RESPONSE IN THE NORMAL CHANNEL. FOR THIS REASON, THE NORMAL CHANNEL GAIN CONTROL IS NOT
AFFECTED BY THE POST CAIN AND IS THE SINGLE DETERMINING ELEMENT FOR THE LEVEL OF THE NORMAL
CHANNEL. WHEN THE FOOTSWITCH IS USED TO SELECT BETWEEN THE SATURATED OR OVERLOADED
CHANNEL AND THE CLEAN, NORMAL CHANNEL IT IS CONVENIENT THAT THE PULL THICK FEATURE DROPS
OUT AND ALSO THE POST CAIN CONTROL DOES NOT GOME INTO EFFECT FOR THE NORMAL CHANNEL. THIS
ALLOWS THE PLAYER TO PRESET THE BALANCE BETWEEN THE PRE CAIN, SATURATION'", AND POST CAIN OF
THE LEAD CAIN BLOCK'" FOR ANY DESIRED OVERLOAD AND SWITCH BACK TO THE NORMAL CHANNEL FOR A
TOTALLY CLEAN SOUND WITHOUT INTERFERENCE OF THOSE TWO CONDITIONS.
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