Mesa/Boogie TriAxis Owner's Manual download pdf (Page 18)

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Go ahead...Crank it! Rhythm Green loves to rock. With the GAIN Control at 10 and the Midrange also high, this mode is one of the

coolest solo sounds around. Reduce the Bass a little and dial in the Treble to set your pick attack, and you have a touch-sensi-

tive lead mode that won’t completely saturate your guitars’ natural sound. This is the sound that helped put Boogies in the hands of

widely acclaimed guitar heroes of the 70’s and early 80’s, when Blues/Fusion changed and revoiced rock with tasty medium gain

sounds. This circuit was sired by the classic 4x10 Fender Bassman and later redeﬁned in Mark 1 Boogies. Classic, bare-bones,

roots players will love how well this setting responds to pickup output. These virtuosos of the volume knob can take or leave

footswitching in favor of a circuit that lets them ride the gain from their guitar. Rhythm Green works extremely well for this and will

surprise even the most hardcore vintage heads. For a real treat, see the Version 2.0 section later in this manual and program

in the great Cranked Vintage Sound that we have laid in as an example of TriAxis’ versatility. This is the easiest way to demo the

wide range of possibilities that this mode can produce as you sweep an expression pedal from a sweet, pristine, clean sound, up

through the more pushed driving range, to the howling solo sound we just mentioned. Rhythm Green is all the amp a player

could ever need, but should you desire more...read on!

NOTE: With a very high GAIN control setting in Rhythm Green, it will probably be necessary to reduce the MASTER Control substan-

tially. The dynamic response of this mode makes it the hottest, output-wise, of the eight modes. Don’t be surprised to see M\ASTER

settings of 2.0 or even 1.0 at high Gain settings, when trying to balance the listening / FX Send level with other modes. This is normal

and often ideal as too high of a GAIN and MASTER combination makes it possible to run out of headroom at the DYNAMIC VOICE

input stage and produce unwanted clipping.

NOTE: The GAIN control has a Dynamic “Bright” circuit built into it. At low Gain settings the upper harmonics will pass freely through

this control, producing the sweetest, brightest sounds. The more the GAIN control is increased, the less of these upper harmonics

pass through this control and the warmer the sound becomes. All the way up on the GAIN control virtually removes these frequencies

from the mix. You may want to use the PRESENCE control to put some of them back at the highest Gain settings. Use the MIDRANGE

control in conjunction with the BASS control to balance the warmth with the upper harmonics at low Gain settings and possibly reduce

the PRESENCE control until you achieve the desired blend.

RHYTHM YELLOW: This Mode delivers a much different response than that of the Rhythm Green mode. You will notice immediately

a distinct change in both the amount and frequency of the bottom end. (Slightly higher and pulled back in the mix a bit.) This Rhythm

provides a tighter, more urgent attack. The top end is quite different also, being both higher and more percussive than that of

Rhythm Green. These differences tend to act in tandem to deliver a less compressed, more open, clean sound. This mode traces its

lineage back to the Mark lV, lll, and ﬁnally the llC+. A favorite of Boogie addicts, this rhythm mode can have deﬁnite advantages

in some situations over the looser, fatter sound Rhythm Green delivers. On large stages or arena type venues, the Yellow mode will

“stay put” and behave better, producing less rampant low frequencies that can trigger unwanted subharmonic feedback from a stage

full of live mics. Being narrower it will seemingly use less power per given watt from your power amp. This makes it seem a bit more

“headroomy,” especially in large bands where sub lows tend to get devoured by the keyboards and bass. In certain cases Rhythm

Yellow can be the only way to get skinny enough to sit tight in a mix and not interfere with the other parts. Anyone who has

done a lot of recording of rhythm tracks or live work in a funk or techno situation will confess it can be frustrating getting that “guitar

direct into the board” sound, which is so essential to many projects. Even if this can be simulated, the feel of the strings can be hor-

rible. Not so, however, with this cleaner-than-clean rhythm machine. We are talking pristine here...Lady Kenmore would be proud if

she heard you groovin through Rhythm Yellow. Funksters love this mode for its articulate and oh-so-skankful persona. Dial the GAIN

control down low 3.5 - 5.0 and dip the MIDRANGE control a bit and you’ll win big points with the producer when your rhythm track is

mix-ready before the engineer can get his tweaky little ﬁngers on the EQ. Yellow also shines when it comes time to do a dub line with

the bass on a reggae jam. It can be so mute you’ll be swearing someone put a felt pad under the palm of your picking hand. There

are many situations where fat is just that...too much. For all these sessions or gigs, Rhythm Yellow gives you that beyond-produced

clean sound in a ﬂash of the Program, but it doesn’t end here.

THE MODES: (Continued)

1 2 ... 13 14 15 16 17 18 19 20 21 22 23 ... 45 46

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Mesa/Boogie TriAxis Owner's Manual Page 18

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