Mesa/Boogie Heartbreaker Specifications download pdf (Page 8)

PAGE 4

CHANNEL MODES:

Each of the Rectos’ three channels contain a choice of modes - two in Channel 1 and three in Channels 2 and 3, so that each channel

may be conﬁgured for an array of sounds. These mode select mini toggles radically alter the voicing of the channel and many internal

changes occur as you switch through the modes. How you choose to use these different modes is up to you, but we think you will

agree that this scheme provides some of the most versatile footswitching available anywhere.

CHANNEL 1: CLEAN / PUSHED:

CLEAN : This is the lowest gain circuit of the Rectos’ eight modes and is optimized for

producing balanced pristine clean sounds. For the best understanding of how to achieve a great sound in this mode, please refer

back to the GAIN Control section of this manual. However, a great place to start is 12:30 or so on the GAIN Control with more sparkle

available below this and more warmth apparent above...from there adjust according to your guitars

individual response.

Because of its more traditional architecture this mode also works extremely well for vintage style drive

sounds. By turning the gain all the way up, a beautiful old school solo sound is possible...especially

with neck single coil pick-ups. The TREBLE and MIDDLE Controls can also add gain and sustain to

this sound (reduce Presence to blend highs), but you will probably want to run the BASS Control below

10:30 to avoid ﬂubbiness and preserve a focused attack.

PUSHED: This mode is a radical departure from the sweet shimmering blend of the CLEAN modes

low gain character. Huge increases in gain early on in the ﬁrst stages of the pre-amp produce one of

the biggest differences between modes in the entire ampliﬁer and transforms what you thought to be

a tame and gentle clean channel into a raging crunch machine. This incredible amount of gain also

creates one of the most expressive solo modes in your Recto. Because there are less stages of gain for the signal to travel through

and the tone control network is tuned for the brighter nature of clean sounds, this mode responds quicker to your pick attack and has

a more urgent, snappy feel. Don’t overlook this mode for some of the Rectos’ coolest overdrive solo sounds.

NOTE: 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.

NOTE: Though Channel 2 & 3 look identical there is one important difference to understand and keep in mind while you are search-

ing out and dialing up your sounds. The PRESENCE Controls are different between the two channels and this affects how

you will ﬁnd yourself conﬁguring them to best suit your style.

CHANNEL 2 is optimized for the original Recto VINTAGE mode with a milder PRESENCE range and a blend of top end harmonics

more suited to soloing. This helps RAW sound more vintage and warm as well. This PRESENCE has a slower taper and therefore a

more gradual response. This means you have ﬁner resolution for the upper

harmonic frequencies which is great for achieving the warmest, fattest single

note soloing sounds.

The trade off is that for the MODERN mode the PRESENCE peaks out

before it reaches true mayhem and there is not the insane amount of top

end available. But, fear not...that is the reason behind the difference in

PRESENCE Controls.

INPUT

CH1

CLEAN

PUSHED

CHANNEL 2 + 3 RAW / VINTAGE / MODERN

RAW

MODERN

CH2

GAIN

MASTERPRESENCE

TREBLE

MIDBASS

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Mesa/Boogie Heartbreaker Specifications Page 8

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