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with the SEND interrupting the signal at the preamp's end and the RETURN feeding the signal back in right
before the power section, just before the driver tube.
Using this patch point usually ensures the best sonic performance as well as signal to noise ratio with your
outboard processors not used between the instrument and the amplifier's "front end" INPUT. That said, it is
important to point out that this is a critical junction in the California Tweed's circuit path and whatever is inserted
here can have an effect on the overall performance of the amplifier.
The effects loop is a series loop, meaning that the entire signal goes through it, unlike a parallel loop where a
portion of the pre-processed "dry" signal is taken around the loop and mixed back in with the processed "wet"
signal. Because the effects loop is a series configuration and the whole signal passes through it, the quality and
performance of the devices used in the loop is critical to achieving the best sound and feel from your amplifier.
A word on processors: We recommend auditioning any prospective processor with your amplifier BEFORE
buying it to ensure it delivers a good match in performance. One clue to quality is price. Like in any segment
of the marketplace, you get what you pay for most times and there can be a wide range of quality in regards
to both build and sonic performance. While technology has raced ahead at a frightening pace and features
are at an all-time pinnacle, it is sound and feel you've likely chosen your pure analog all-tube amplifier for, so
we recommend a similar degree of discretion when it comes to choosing your processing devices. Ultimately,
what you insert in the middle of your amplifier's signal path can have a lot to do with how it performs.
To connect your processors:
1.
Connect the SEND to your processor's INPUT
2. Connect the RETURN to your processor's OUTPUT.
Set your amplifier to the desired gain, tone and master settings and check the processor's input and output
levels making sure there is ample headroom on the input and return gain on the output. A good way to tell if
you have optimal settings and check the quality of your processors and cabling is to remove the cables from
the SEND and RETURN jacks on the amplifier. Hopefully the signal will remain relatively unchanged in terms of
volume and integrity. If the level drops when you unplug the cables, less gain is needed at one or both places
in your processor signal chain. If the signal increases then you will need to increase the processor's input and/
or output gain to achieve some "make-up gain". If the processor is of good quality it should provide good
performance and little loss or gain without extreme settings on the device's input and/or output.
Effects Loop Cabling: It is always best to use the shortest lengths possible, unless you intend to run very long
lengths and use a buffer. Though your effects loop IS buffered, there can be some minimal sonic penalty when
using longer cable lengths.
Always use shielded, high quality cables of the shortest length possible to connect your processors to the
effects loop.
If you can't achieve an almost seamless balance between the processor plugged in and it removed from the
loop with the processors input and output level controls, perhaps its quality — or at least that of its input and
output circuitry — is in question. Again, most times you get what you pay for.
REV FTSW (REVERB FOOTSWITCH JACK)
This jack allows remote on and off control of the reverb circuit so that you can bypass the effect remotely for
parts that are more suited to dry a sound. You can use an optional MESA reverb footswitch or, connect any
standard latching type (non-momentary) ON/OFF foot switch to the REV FTSW jack with a SHIELDED cable
and toggle the reverb on and off. The REVERB control must be turned up to a level where audible reverb effect
is part of the mix, say 9:00 or above, in order to use the feature effectively.
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