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of the authentic ingredient to a sound, like blues sounds or classic rock sounds in the Clean Channel cranked.
However, you will find the best overall tracking and dynamic response for most styles in the middle range
(10:00 - 1:30) of the MASTER controls/overall power output.
By all means, when possible, turn the amp up enough to get the power tubes working and doing their magic,
adding fullness and color, but more than that isn't always better. Going past there, adding color to the onset
of clipping and farther into saturation will present trade-offs in tracking and articulation, especially in the low
end and especially when higher GAIN settings are also applied. Like most of the controls on your Badlander,
for most sounds, we suggest using the MASTER controls, and hence overall power, in the middle range for the
best overall response and performance.
Another way to add harmonic content is to incorporate the POWER SELECT switch and switch down to the
lower wattage setting. This approach will allow you to increase the MASTER and hear more of the power tube's
character, but this too must be balanced to assure the low end stays tight and the tracking isn't compromised.
The best tracking and low-end accuracy will most always be experienced in the highest wattage setting. So, if
your music requires accurate Bass response, especially in combination with high GAIN settings, you will want
to forego the extra harmonics that might otherwise be added in the lower wattage settings and just stick with
the highest Power Setting.
TREBLE
While the GAIN is the most powerful control in the Channels, the TREBLE runs a close second. The TREBLE is
responsible for shaping the character of the Mode almost as much as the GAIN. It also tends to overshadow
almost everything except PRESENCE, seeing as these two controls deal with top end and that is always what
reaches your ears fastest/first. Since the TREBLE can overpower the rest of the Tone controls easily, its setting
is crucial to a rich and balanced sound in all three of the Modes. Setting the TREBLE with care and taste in mind
is also critical for the Tone control string to work in harmony.
In all three Modes, the middle region of the TREBLE delivers the best balance and creates sounds that are
plenty bright enough but still possess richness and warmth. We suggest that you start with the TREBLE at 12:00
and adjust up or down slightly until the desired blend is achieved.
Circuits emanating from the Brit side of the tube amplifier spectrum and sharing that DNA tend to favor TREBLE
and PRESENCE control settings on the lower side for the best blend of attack and warmth. Depending on guitar
woods, pickups, and technique, don't be surprised if you find great sounds below 12:00, or even all the way
down on the TREBLE and the PRESENCE as well, on occasion. The MID's broad Q carries substantial top end,
and sometimes it is capable of providing all the cut you need.
The MID control also carries frequencies somewhat close to those the TREBLE commands along with the up-
per mid and lower mid frequencies it is centered around. Use this to your advantage and experiment with set-
ting the TREBLE lower than you normally might and running the MID up a bit and vice versa. Some very cool
sounds can be found with the TREBLE lower, very low, or even off, and the MID higher than you may be used
to. Be sure to check the interaction between these two powerful controls, as it will be critical in achieving the
sounds you want.
MID
The MID control, while perhaps not quite as powerful as the GAIN and TREBLE controls, does impart a strong
character on the sound of all three Modes. MID brings in and out a broad band of midrange frequencies and
– as we have mentioned earlier in the TREBLE section – along with these frequencies rides a fair amount of
higher "low treble" range frequencies. These highs are lower than those the TREBLE carries, but they are im-
portant for the punch and cut in a mix. They are also important to the way the amp feels to play (forgiving or
more forward and even stiff).
These midrange frequencies exhibit an interesting trait; At lower settings where the mids are scooped out,
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