Mesa/Boogie Heartbreaker Specifications download pdf (Page 11)

PAGE 7

GAIN: (Continued)

2.) GAIN - In conjunction with the Tone Controls - Basically, a simple rule applies...as the Gain is

increased the Tone control string has less and less effect on the signal until at 5:00 the signal is so saturated that you are getting

mostly Gain and very little Tone. Again, this is the reason we suggest using the GAIN Control in its middle region. Here the Tone

control string is very active and provides maximum shaping power - allowing you to dial virtually any sound you desire.

TREBLE :

As in most tube guitar ampliﬁers, the TREBLE Control (in all three channels of your Recto ) is the most power-

ful of the rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is ﬁrst in the signal path of the tone

controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of

the TREBLE Control is very important for equal representation of the three frequency regions to appear at their respective controls.

Like most of the controls on your Recto, there is an optimum region of the

TREBLE Control where ample top end is mixed in and yet enough signal is still

passed on to the MIDDLE and BASS Controls.

As you might surmise, here is the sweet spot. There are deﬁnitely great sounds

above and below this middle region (11:00 - 1:30), but the balance between the

TREBLE Control and the other two tone controls is compromised.

The one place you may want to throw caution to the wind and set the TREBLE

Control above this median zone presents itself in Channel 1 of your new Recto.

In both modes (Clean & Pushed), the TREBLE Control can be used to dump

extra gain into the mix. This is especially effective in the PUSHED mode for

crunch sounds. When doing so use the PRESENCE Control to roll off some of

the more than ample top end for a more compressed feel and fatter voice. As

you might surmise, the BASS Controls’ effectiveness will be reduced, so you

may have to run a much higher setting than you are used to seeing to achieve a

balance. This said, keep in mind that the TREBLE Control in Channel 1 Pushed should not be set much above 2:30 to avoid unwanted

microphonic tube problems.

MASTER :

This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can

see each Channel is ﬁtted with its own MASTER Control, enabling the three channels relative volumes to be matched regardless of

their extremely different sound styles and gain signatures. The MASTER Control makes possible a wide range of sounds through its

ability to use very low Gain sounds at high volumes and

conversely, high Gain sounds at low volumes and everywhere

between.

Again, we suggest using the MASTER Control in its sensible

ranges (9:00 - 2:00). Here, the channels will be easier to match

with each other and the Effects Loop will see more reasonable

signal levels.

NOTE: Because the MASTER Control creates the send to the

Effects Loop, extreme settings will cause a large signal to be

sent to the Loop for that Channel. Not only may this cause pos-

sible overloading of the processors Input stage, but will make

balancing the three channels’ Effect Send level difﬁcult.

The Controls:

(Continued)

INPUT

CH1

CLEAN

PUSHED

GAIN

TREBLE

REGIONAL TITLES ARE THE SAME FOR ALL 3 TREBLE CONTROLS

SWEET SPOT

MASTER

INPUT

CH1

CLEAN

PUSHED

GAIN

TREBLE

REGIONAL SETTINGS ARE THE SAME FOR ALL 3 MASTER CONTROLS

MOST SENSIBLE RANGE

EASIEST TO BALANCE CHANNELS

REASONABLE FX LOOP SIGNAL LEVELS

1 2 ... 6 7 8 9 10 11 12 13 14 15 16 ... 44 45

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Mesa/Boogie Heartbreaker Specifications Page 11

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