Reverb - Mesa/Boogie California Tweed 6V6 2:TWENTY Owner's Manual

these elements work seamlessly to protect the integrity of your tone WITHOUT using the loop, but also so you
can rest assured your processors will interface nicely without compromising it. However, please remember that
EVERYTHING in the signal path is a "tone element", so keep that in mind when choosing processors to place
right in the middle of your amplifier. Try to use processors of good quality that utilize good input and output
stage designs, as well as microprocessors/engines and/or analog circuitry.
Some (purists) like running the MASTER all the way up and raising the GAIN to the desired sound and volume.
The thinking here is that this scenario achieves the purest sound and most immediate attack. In theory this
resembles removing the MASTER control altogether from the signal path, and in one way it does. However, most
all the "vintage non-master" amplifiers this approach hopes to emulate have discrete resistors in that location in
the circuit anyway to adjust or "tune" the output of the preamp to the power section input sensitivity. So really,
there is no real difference because potentiometers are simply variable resistors. It's just like having your choice
of fixed resistors you can sweep through that allow adjustment of the input sensitivity of the power section.
The MASTER is nothing more (intrusive in that regard) than a variable "resistor ladder" that offers a nearly infinite
range of settings possibilities and makes the amplifier many times more versatile without sonic penalty. If you
prescribe to the old school approach, by all means use it... it won't hurt the amplifier. However, you will be limiting
the potential sounds you can achieve by removing the great sounding combinations of GAIN and MASTER
settings. You may also be challenged to achieve optimum levels at the input of any processing you might try to
use in the effects loop, for as mentioned earlier, the MASTER also determines the SEND level signal strength.

REVERB

The California Tweed 2:TWENTY incorporates an analog all-tube spring reverb circuit that produces lush,
ambient reverb effects, from subtle to fully-drenched "Surf" levels, that enhance its vintage-oriented character.
This control is the easiest to operate on the entire amp because what you hear is exactly what you get and,
other than the physical interaction of volume and whatever harmonic resonances that might create, it is largely
autonomous in nature and shares no duties.
That said, much like the BASS, the more extreme the setting of the GAIN control is, the more sensibly the REVERB
may want to be applied, unless it truly is Surf music you're playing. Luckily, this seems to follow the stylistic
boundaries to a certain extent, in that most players who use gained-up sounds tend to rely more on delay than
reverb as their main form of adding a spatial quality to their sound. To be fair though, that notion may not apply
so much to overdriven rhythm playing in say a Blues or Roots style, especially when it's time to be dramatic.
In the traditional world of clipped clean, where clean amps cranked-up produces the desired flavor, the sound
of reverb tanks and their springs being overdriven, along with the analog circuitry feeding them, is an integral
part of the authenticity and vibe. Feel free to utilize the REVERB set high for this application... crank the preamp's
GAIN control and set the REVERB to your desired saturation level.
Just remember that reverb is essentially an electro-mechanical moving part at its core and therefor it's affected
by nearby and/or internal physical elements such as vibration, both in the amp from high volumes, and externally.
...And by certain frequencies as well. Everything that vibrates can potentially resonate with other things vibrating.
The clear example of this is REVERB set at very high levels "feeding back" or running away on certain notes
when a combo amp is played at very high volume levels and the internal speaker is shaking the whole cabinet.
We go to great lengths to ensure your amplifier is as impervious to these anomalies as possible during the
design, build and play-testing processes, but the real world of long road trips in trucks or airline flights, loud
gigs with excited drummers and bassists can all subject the reverb's mechanical components to rigors that
tax it's design and components. Some of these can be avoided or minimized by careful transport, wise setup,
sensible volume levels and vibrational isolation within your playing environment.
NOTE: Should you experience any vibrational and/or mechanical issues with the REVERB, try reducing the REVERB
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