6. Treble
By adjusting this Treble control you can add or
take away the higher frequencies in your guitar
tone when on the Clean Channel. By turning up
the Treble control and increasing those high
frequencies you will make your guitar sound
brighter and more cutting.
7. Ch.2 On LED
When illuminated this LED indicates that the
Overdrive Channel has been selected.
8. Gain
This effectively controls the amount of
distortion on the Overdrive Channel. Keeping this
control low will result in crunchy vintage type
tones. Turning this dial up will increase the
amount of distortion, fully clockwise giving
maximum distortion providing a gain drenched
tone ideal for heavy chords, wailing solos and
ripping harmonics.
9. Bass
This controls the amount of bottom end or low
frequencies in your guitar tone when on the
Overdrive Channel. When using a heavily
distorted tone, increasing the bass will generally
make the tone darker and heavier.
10. Contour
The Contour control basically shifts the mid-
range frequencies in your guitar tone. By turning
the Contour fully clockwise you will scoop out of
your sound most of the middle frequencies. If you
combine this setting with heavy distortion and high
Treble and Bass settings you can get a killer thrash
tone, perfect for brutal rhythms or solos.
By turning this control fully anti-clockwise
you can get some great fusion type tones. We
would suggest that you spend some time
experimenting with this control to find the
optimum setting for your style, if you’re not sure
simply leave the control set to 12 o’clock.
11. Treble
By adjusting the Treble control you can add or
take away the higher frequencies in your
Overdriven guitar tone. By turning up the Treble
control and increasing those high frequencies you
will give your guitar sound greater cut and more
bite.
12. Volume
This adjusts the overall volume of the
Overdrive Channel, making it possible to balance
levels between the Clean and Overdrive Channels.
13. Reverb
Adding Reverb to your guitar tone will add
ambience and size, giving the effect of playing in a
large empty room or hall.
14. Line Out Jack
The Line Out Jack can be used for direct
connection to recording equipment or for
connection to a P.A. system.
15. Headphone Jack
For use when silent practice is the order of the
day. Connection of headphones will automatically
shut down the internal speaker.
16. Power Switch
Switches the mains power to the combo.
4
Suggested Settings
Before we look at some suggested settings there are a few points that you should remember;
1- Taste in sound is a very personal thing. What might sound great to one guitar player might not appeal to
another guitarist. Therefore these suggested settings may well need some fine tuning to suit your own
individual tastes.
2- One of the main influences on your sound will be your guitar. Each guitar displays certain
characteristics e.g. solid heavyweight guitars with humbuckers tend to be very warm sounding and generally
speaking exhibit a strong bass response, while lighter weight guitars with single coil type pick-ups tend to have
a much brighter sound.
3- There are a whole range of factors that can influence background noise. You will notice, particularly
when using a heavily overdriven tone, that standing too close to the combo when playing can induce feedback
and hum, as can facing the combo, so select your positioning carefully. There may be occasions where you
actually require feedback, here again your positioning will be important and you will need to experiment to find
the most suitable. Other factors that can create unwanted noise include poor quality guitar leads and certain
types of pick-ups (single coil types particularly).
Overleaf there follows three simple settings, for both guitars fitted with single-coil pick-ups and those
fitted with humbuckers. Though you may find these settings suit your taste perfectly they should be
viewed as a starting point from which to develop your own settings.
ENGLISH
