Mesa/Boogie Heartbreaker Specifications download pdf (Page 7)

PAGE 3

HELPFUL HINTS:

(Continued)

5.) The SOLO Control can be set for a volume level above that of the OUTPUT Control setting. It will not allow a setting below that

of the OUTPUT.

6.) The GAIN and TREBLE are the most powerful controls in all three channels. They should be used with taste and you will ﬁnd that

the best sounds are found with these two controls set somewhere in their middle regions. Avoid setting the TREBLE above 2:00 when

the GAIN is maxed as the possibilities for noise and squealing from microphonic preamp tubes increases dramatically.

7.) You will notice a volume increase when switching from the CLEAN to PUSHED in Channel 1 and from VINTAGE to MODERN in

Channels 2 and 3. When switching from one mode to another always check your Channel MASTER setting to avoid sudden

volume jumps and possible hearing damage. It’s not a bad idea to get in the habit of zero-ing out the MASTER before reconﬁguring

a channel.

8.) When using the Effects Loop for external signal processing, the best tonal results will be obtained with the processor’s dry/wet

mix set to 100% wet and the Rectos’ Effects Loop RETURN MIX Control set as close to 10% as possible. This scheme will retain most

of the pure sound of the Recto and lower the chance of possible tonal degradation due to the processors’ limitations.

9.) Choosing the proper Rectiﬁer mode with the RECTIFIER SELECT switch (located on the Rear Panel) that best suits the sound

style you are trying to dial can greatly enhance the performance. VACUUM TUBES produce a more elastic feel and softer clipping

characteristics which is especially great for single note soloing. SILICON DIODES produce more power and headroom and can

also track better for extreme gain settings while staying tighter in the bottom end.

10.) The PRESENCE Control determines a lot about the voicing of gain sounds. Set lower it will fatten and compress single note

sounds and lend a liquid feeling to the strings in Channel 2 and 3 and the PUSHED sound in Channel 1. Above 12:00 it starts adding

cut and tightness in all channels.

11.) When using PUSHED with the GAIN Control maxed (5:30), do not run the TREBLE Control above (2:30). Settings above (2:30)

can create possible oscillation in certain preamp tubes in the V1 position. This can be avoided altogether by setting the TREBLE

Control sensibly when the GAIN Control is maxed. Use the PRESENCE Control for additional brightness.

Hopefully these tips have helped you in getting ready to enjoy a walk on the wild side. By now you should be familiar with much of

the Rectos’ features so let’s check out the sound (like you haven’t yet) with an example of some popular sounds in three of the 8

modes.

INSTANT GRATIFICATION:

Here are some examples of the most popular sounds in the three channels. There are additional

sample sounds presented later in this manual, but the possibilities are endless and we encourage you to ﬁnd your own sounds through

experimentation.

N ow t h a t y o u h a ve s c r a t c h e d t h e s u r f a c e o f t o n a l o p t i o n s i t ’s t i m e t o l o o k a t e a c h i n d i v i d u -

al control to see how they interact and what role they play in helping you arrive at your sound quickly and easily.

CHANNEL 1: Sample Setting #1

INPUT

CLEAN

PUSHED

GAIN

MASTERPRESENCE

TREBLE

MIDBASS

CHANNEL 2: Sample Setting #1

RAW

MODERN

CH2

GAIN

MASTERPRESENCE

TREBLE

MIDBASS

CHANNEL 3: Sample Setting #1

RAW

MODERN

CH 3

GAIN

MASTERPRESENCE

TREBLE

MIDBASS

CH1

1 2 3 4 5 6 7 8 9 10 11 12 ... 44 45

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Mesa/Boogie Heartbreaker Specifications Page 7

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