Band Graphic Eq; Output - Mesa/Boogie Formula Pre Owner's Manual

CONTROLS:
(Continued)
Your new Formula offers even more control over the sound than amplifiers that use only the traditional string of
GRAPHIC EQ:
rotary controls by including an on-board 5 BAND GRAPHIC EQUALIZER. This powerful tone shaping tool uses a wide band array
focused on the frequencies that are most crucial for electric guitar. The wide band scheme is infinitely friendlier to use than traditional
RHYTHM
EQ IN
EQ
FT
SW
IN
EQ LD2
LEAD 1
60Hz 240 750 2200 6600
Classic "V" Curve
mat than a notch / boost filter there is less chance of an uneven response. The narrow band or parametric designs work great if you
are adept at using them, but if one is unfamiliar with its pitfalls, the result is a sound with big or extreme holes in the mix...bad news for
guitarists, who have a hard enough time getting the instrument to feel even across the fingerboard.
The EQ is accessed manually via the three position mini toggle just to the left of the slider array and can be used in three different
ways. (1) To enhance the entire character of the Formula with one curve for all three channels, select EQ IN (toggle up). (2) To either
bypass the EQ completely or Footswitch it in or out of any channel at will from the Footcontroller, select EQ OUT / FS (toggle center
position). (3) To auto-insert the EQ to LEAD 2, select the EQ / LD2 position (toggle down). This last position enables you to drastically
re-voice the second lead channel in order to deviate even further from the voice of LEAD 1.
Because the two channels share duplicate set of rotary controls, the ability to pre-program the GRAPHIC EQ for LEAD 2 and custom
tailor it to your sound style - makes the Formulas' two lead channels super versatile. With all the possible combinations you will never
have to worry about possible compromises between LEAD 1 and LEAD 2. Just in case you have never used a Mesa/Boogie amplifier
in the LEAD channel with the GRAPHIC EQ, we would like to suggest trying one setting that keeps coming up over the years. The
setting in the illustration above (or some mild variation of it) is referred to around here as the Classic "V" Curve. It has been used by
countless players over the years, many of whom are world class recording / touring artists, as a way to widen and enlarge their sound.
By dipping the mids and boosting the lows and highs in this manner a bigger than life guitar sound can emerge...even from small 1 x
12 cabs, that you can scarcely believe. A word of caution though...it's addicting and once you've heard this bigger sound, don't be
surprised if the un-EQ'd sounds don't sound the same to you. Just give it a minute and they will again...you're suffering from an EQ
hangover!
As we said, this setting is optimum for high GAIN lead sounds in the lead channels, but also works well for some people in the clean
channel as well. Anyway, whether you're into the giant crunch or not, it's a great way of auditioning the sonic shaping power of the
GRAPHIC EQ. And by all means...use your imagination and experiment freely in all the channels.
This larger knob is the final output level control for all three channels of the Formula. After the sounds have been

OUTPUT:

dialed to taste and blended for their respective levels with the individual channel MASTER controls, the entire pre-amp volume level
GAIN
O RHYTHM ON
U
LD
T 1
P
FT
U SW
LEAD 2 AC
T
Formula Pre
MASTER
GAIN
RHYTHM ON
O
U
LD
1
T
LD2
P
FT
SW
U
LEAD 2 AC
T
Formula Pre
MASTER
may be controlled here without interrupting the pre-set blend of the channels. And because this
control comes at the end of the signal path, adjustments here will not change the signal strength at
the Effect Send jack.
narrow band 1/3 Octave or 31 Band set-ups that are often found in
live reinforcement type arenas.
It is also more intuitive than the sweepable parametric type used in
the recording domain. With fewer bands covering wider, yet no less
effective regions of the spectrum, you can nail down the sounds you
are after more quickly. And because it is closer to an interactive for-
PAGE 7