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•
The MID control carries a fair amount of top end along with the previously mentioned punch, albeit in a
lower place than that of the TREBLE. Keep in mind it can also be used to bring in attack and openness of
a different character than that found in the TREBLE.
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The PRESENCE also plays its role in the overall top end and open-sounding quality of the mix and, at times,
in a more pleasing, higher, and more global range than that found in the TREBLE's upper region.
•
We encourage you to experiment with all three of these controls above when searching for your perfect
blend of top end, as they each represent a different region of the spectrum and together provide the tools
to achieve a great blend if you spend the time working with them.
•
When searching for more traditional-gain Crunch or Classic Rock sounds, especially in the CLEAN Mode, you
may want to try the reduced wattage position of the Multi-Watt Switch in addition to simply turning the GAIN
control higher. Taking this approach allows for you to increase the overdrive content and characteristics in
the power section with the MASTER control, which the EL84s oblige to no end when pushed, while at the
same time lowering the overall output volume to make dB levels less impactful for yourself and others who
may be nearby on the Bandstand or in the audience.
•
When using the EFFECTS LOOP to interface your outboard processing, use good quality shielded Audio
cables of the shortest length possible to assure the best performance and least chance of signal degrada-
tion. Remember that anything you insert into the middle of your amplifier can act as a Tone shaping device,
so we recommend high-quality effects processors and good quality cabling to assure the best chance of
avoiding degradation. Though the Effects Loop is buffered and, in theory, should be somewhat impervious
to Tonal thievery, your entire signal will be subjected to whatever the lowest common denominator is in
your signal path, so take note of this and choose your processors and cabling accordingly.
•
The 8 Factory-Loaded CabClone IR selections that each channel of your Badlander can hold at one time
were chosen from the BANK A/LIVE Presets as they appear in our CabClone IR standalone unit. They were
selected for their ability to sound open and sit well in a variety of mix applications, from stage performance
to recording and from small combos to more dense mixes with multiple instruments and voices. See the
CabClone IR Section of this Manual for more information.
NOTE: When manipulating IRs within the MESA IR Drive, each memory location within the 8 Presets in the MESA
IR Drive must contain one IR and one IR only. Placing two IRs in each - or any - of the locations or having no
IR at all in a memory location will result in having a blank location, and there will be no sound at all in that cor-
responding location on the Cab Select Rotary.
FRONT PANEL
INPUT
This is the Instrument Input on your Badlander. Always use low capacitance, shielded Audio cables of good
quality and, whenever possible, in lengths below 18 Feet ...preferably 15 feet or less. The Badlander is capable
of extremely high gain, so noise in the instrument cable has the potential to be amplified many times depend-
ing on your application and settings. So again, use high quality, low capacitance, shielded instrument cable
between your instrument and the amplifier's INPUT.
FTSW.
This mono 1⁄4" jack is the Footswitch jack for the included MESA Channel Switch. When the supplied Footswitch
and cable are connected here, you may select the Channels remotely instead of using the Front Panel Chan-
nel Select switch located just to the left (or to the right on the Combo version) and between the Mode Select
switches for each Channel.
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