MESA ENGINEERING Rectifier BADLANDER EL34/50 Manuale utente

Owner’s Manual

BADLANDER

™

Hello from the Tone Farm

Congratulations on your choice of the BADLANDER™ and welcome to the MESA/Boogie®

Family! e instrument you’ve selected has a deep heritage that combines the best attributes

of vintage tube amplication with pioneering innovation that brings high-gain channel

switching performance to a new frontier. One look at the thoroughness of the feature set of

this amplier tells you it’s loaded with inspiring tools, but underneath the hood, the au-

thenticity of these groundbreaking circuits and features (beware imitators) dates back to

our MARK I™ and the very beginning of Modern guitar amplication. So congratulations

on your choice… you should feel a sense of pride that you’re playing an amp like no other,

an original in every way! Just like you!

Our 50+ year commitment to excellence along with our solemn promise to musicians - to

treat each of them as we ourselves would wish to be treated - guarantees you an experience

that will make you feel truly justied in your choice. We’re condent your new amplier

will have you smiling and inspired within minutes of plugging in for the rst time...but

what’s really gratifying is that you will be nding new and inspiring sounds years after the

price of admission has faded from memory and the BADLANDER™ continues to unveil

it’s true worth.

It’s with our sincere thanks for trusting us with your TONE and our best wishes for all your

musical endeavors that we welcome you home. Should you ever need assistance or guidance

we’re here to help. You now have in your hands an instrument of limitless expression. Our

hope is that it takes you and your playing to new and unimagined places throughout your

musical journey. From all of us here at MESA®...Enjoy!

Table of Contents

PRECAUTIONS

OVERVIEW __________________________________________________________________1-2

HELPFUL HINTS _____________________________________________________________ 3-4

FRONT PANEL

INPUT _______________________________________________________________________ 4

FTSW ________________________________________________________________________ 4

CHANNEL SELECT _____________________________________________________________ 4

MODE SELECT_________________________________________________________________ 4

GAIN ______________________________________________________________________ 5-6

TREBLE ______________________________________________________________________ 6

MID _______________________________________________________________________ 6-7

BASS ________________________________________________________________________ 7

PRESENCE__________________________________________________________________ 7-8

MASTER____________________________________________________________________ 8-9

MULTI-WATT POWER____________________________________________________________ 9

POWER: BOLD/OFF/VARIAC ___________________________________________________ 9-10

STANDBY____________________________________________________________________ 10

REAR PANEL

SPEAKERS _________________________________________________________________ 10-11

CABCLONE IR ______________________________________________________________ 11-13

EFFECTS LOOP (SERIES)________________________________________________________ 14

BIAS______________________________________________________________________ 14-15

FACTORY SAMPLE SETTINGS____________________________________________________ 16

USER SETTINGS ______________________________________________________________ 17

TUBE TROUBLESHOOTING __________________________________________________ 18-20

SPEAKER HOOK-UP GUIDE___________________________________________________ 24-25

TUBE TASK CHART ____________________________________________________________26

PARTS LIST __________________________________________________________________ 27

BADLANDER

™

IMPORTANT SAFETY INSTRUCTIONS

1. Before attempting to use this apparatus, read and follow these

instructions for proper use.

2. Keep these instructions.

3. Heed all warnings.

4. Do not use this apparatus near water.

5. Clean only with a dry cloth, do not use any solvent such as

benzene, naphtha or paint thinner on apparatus.

6. Do not block any ventilation openings. Install in accordance

with manufacturer’s instructions.

7. Do not install near any heat sources such as radiators, heat

registers, stoves or other apparatus (including other ampli-

ﬁers) that produce heat. Avoid placing the apparatus in direct

sunlight.

8. Do not defeat the safety purpose of the polarized or ground-

ing type plug. A polarized plug has two blades with one wider

than the other. A grounding type plug has two blades and

a third grounding prong (protective earth connection). The

wide blade or third prong is provided for your safety. If the

provided does not ﬁt your outlet, consult an electrician for

replacement of obsolete outlets.

9. Be sure that the ampliﬁer’s rated power supply voltage and

frequency matches the voltage and frequency of your power

source BEFORE connecting ampliﬁer to the power source.

The ampliﬁer’s rated power supply voltage and frequency

are clearly indicated on the back panel near the power inlet,

and the power cord’s plug should match the power source

in your region.

10. Protect the power cord from being walked on, pinched, or

from excessive stress, particularly at the plug and attachment

point of the apparatus.

11. Only use attachments and/or accessories speciﬁed by the

manufacturer.

12. Refer all servicing to qualiﬁed service personnel. Servicing

is required when the apparatus has been damaged in any

way, such as the power plug or cord is damaged, liquid has

been spilled or objects have fallen into the apparatus, the

apparatus has been exposed to rain or moisture, does not

operate normally or has been dropped.

13. To ensure proper ventilation, ensure that there is a minimum of

4” (10cm) of space at the rear of the apparatus. The ventilation

should not be impeded by covering the ventilation openings

with items such as newspapers, cloth, tapestries, curtains,

etc. Do not impede ventilation by placing objects on top of

the apparatus which extend past the rear edge of the cabinet.

14. No naked ﬂame sources, such as lighted candles or oil lamps,

shall be placed on the apparatus.

15. The apparatus shall not be exposed to dripping or splashing,

and insure that no objects ﬁlled with liquids, such as vases or

beverages, are placed on the apparatus.

16. The AC plug is the mains disconnect, the plug shall remain

accessible after installation.

17. WARNING: To reduce the risk of ﬁre or electric shock, do not

expose this apparatus to rain or moisture.

18. WARNING: Do not defeat the safety grounding pin on the

power cable, it is there for your safety.

19. WARNING: Do not open or perform any internal modiﬁcations

on this apparatus.

20. WARNING: Do not attempt to repair the apparatus, or replace

parts within it (except where this manual provides speciﬁc

instructions directing you to do so). Refer all servicing to your

retailer, the nearest authorized Mesa Boogie Service Center,

or authorized Mesa Boogie distributor in your region.

21. WARNING: Always disconnect the apparatus from the power

source before changing fuses, tubes or removing the chassis

for service. Use only the same type and rating as speciﬁed on

the back of the apparatus when replacing a fuse.

22. WARNING: Disconnect apparatus from the power source dur-

ing a lightning storm or when unused for long periods of time.

23. WARNING: This apparatus is heavy. Insure that the apparatus

remains stable after installation.

24. WARNING: In areas where children may be present, use ad-

ditional precautions as needed to protect the children from

the hazards presented by the unit. This includes risk of electric

shock, burns and toppling over.

25. CAUTION: This apparatus contains hot components and

surfaces. Avoid direct contact with heated tubes and other

components. Insure that any factory installed guards remain

installed.

26. CAUTION: Avoid contact with moving fan blades that may be

present within the apparatus or cabinet.

27. CAUTION: Tube envelopes are glass and can present a

hazard if broken. Always turn apparatus o, disconnect from

the power source, and allow to cool before changing tubes.

28. CAUTION: To avoid damaging your speakers and other equip-

ment, turn o the power of this and all connected equipment

before making or changing connections. Power apparatus up

with the volume levels set to minimum, and slowly increase

to desired level.

29. CAUTION: Always insure that the proper speaker load is

connected to the apparatus before operating the apparatus.

Failure to do so may cause damage to the apparatus.

30. CAUTION: Do not use excessive force when handling cords,

jacks, buttons, switches and controls. Never unplug the ap-

paratus from the power source by pulling on the wire, use

the plug body.

31. CAUTION: This apparatus, in combination with speakers and/

or headphones, may be capable of producing sound levels

that could cause permanent hearing loss. Do not operate

for a long period of time at high levels, or at a level that is

uncomfortable, without hearing protection. If you experience

any hearing loss or ringing in the ears, you should immediately

stop using the apparatus and consult an audiologist.

[rev. 12/18/2020]

Operating Instructions

Overview

Congratulations on your choice of the Badlander™ and welcome to the MESA/Boogie®family!

The Badlander is the latest in a long line of iconic Rectiﬁer®products that carries the tradition of high perfor-

mance, high gain forward with a tighter low end, more aggressive midrange character and enhanced harmonic

content. This tonal updating is thanks to an all new preamp as well as a more aggressive power section featur-

ing a stock compliment of EL34 power tubes.

While cut from much the same cloth as its forbearer, the original Dual Rectiﬁer®Solo Head from the early ‘90s,

this model stakes new ground and pays homage to Heavy sounds in its own new distinctive and more percus-

sive way.

Two identical, footswitchable preamp channels oer the ability to conﬁgure the ampliﬁer for virtually any style

and make it a supremely versatile choice while decidedly leaning toward all things Rock. CLEAN, CRUNCH

and CRUSH Modes are doubled up and appear in both channels allowing for multiple ways to get your dier-

ing gain signatures done.

Our Patented Multi-Watt™ power switch rounds out the mix of front panel options providing FULL power 50 Watt

or Triode-wired 20 Watt operation of the power section. A Variac setting on the Power Switch allows reduced

voltage, a dierent EQ curve and a saggier feel.

Looking to the rear panel, features include ﬁrst, a full complement of speaker outputs with two 4 ohm and one

8 ohm ¼” jacks, enabling a wide array of impedance matching options for your favorite cabinets and most

popular conﬁgurations.

PAGE 1

BADLANDER

™

FRONT VIEW: BADLANDER™ 50

VARIAC

DISCONNECTED

50W

20W

BADLANDER

™

REAR VIEW: BADLANDER™ 50

VARIAC

DISCONNECTED

50W

20W

BADLANDER

™

Domestic version shown. Refer to the amp’s actual back panel for power and fuse information.

Next, the on-board CabClone™IR DI section opens a new world of ﬂexibility and convenience, providing 8 choices

(repeated in each channel) of Impulse Response Captures of our most popular MESA Speaker cabinets mic’d

for Live applications. This array of IRs provides instant great choices in the very best of virtual cabinetry with 8

voicing options, as well as footswitchable independence to treat the two channels dierently when recording

direct or sending live, mic-free, or even cab free stage sounds to the front of house in venues.

All this is possible in part due to the great sounding, great feeling built-in reactive Load that allows integration

of the power section and all its character without the need for a speaker cabinet connected. This new addition

makes the Badlander a mighty ri-catcher as the ﬁrst MESA ampliﬁer to feature such comprehensive, eortless

and inspiring DI performance. With the Badlander’s vast preamp versatility, power options and the fact you

can record or perform “silently” and safely with no live speaker as well as with your favorite Cab, it sets a new

standard for Tone, feel and convenience in capturing your own brand of electriﬁed guitar magic direct.

The interface points and features of this powerful inclusion are as follows: a standard 3-Pin XLR for the bal-

anced DI signal, a Circuit-To-Chassis ground/Lift Switch, a standard USB port to interface with your computer

for File manipulation/transfer/downloads, a HEADPHONE output, a LEVEL control to adjust the DI output and

Headphone level, and a pair of CAB SELECT 8-position Rotary Switches enabling you to call up dierent cabinet

choices for each preamp channel.

The CabClone IR circuitry also supports third-party IRs and the processor can hold, depending on File size,

hundreds of IRs in its Storage Library. Simply connect the Badlander to your computer using the USB port and

manipulate the IR Files in accordance with your needs.

Next on the rear panel the Badlander includes a no-compromise buered serial EFFECTS LOOP that provides

a patch point between preamp and power section for seamless integration of processing you don’t want on

the amp’s Input. Time-based Eects such as Reverb, Delay, Chorus, Flange, and in some cases even things

like compression, are all candidates for use in this Tone-preserving EFFECTS LOOP.

The Badlander is also ﬁtted with our BIAS SWITCH, enabling you to swap the Stock compliment of EL-34 Power

Tubes with 6L6s for fatter lows and midrange and a whole dierent top end as well as feel and character. Al-

ways make sure the BIAS SWITCH setting matches the tube type in use!

The fuse holder rounds out the rear panel. Always use the proper fuse type and rating as indicated on the back

panel, fuses are slow blow or time delay.

Now it’s time to get to information that will help you get the most enjoyment out of your new ampliﬁer.

INSTANT GRATIFICATION

Here below is an ”instant gratiﬁcation” tour of the Badlander’s channels using the top channel set to CRUNCH

for a Heavy rhythm sound and the bottom channel set to CRUSH for a high gain Soloing Tone. This is just one

of the countless possible conﬁgurations you could use to dedicate the channels to dierent stylistic roles and

tasks. You may also set both channels to the same Mode to make possible footswitching between dierent

PAGE 2

Instant Gratication Settings

VARIAC

50W

20W

BADLANDER

™

settings of the same gain range. However you choose to dedicate your channels, a world of possibilities await

your exploration and application.

There are many possibilities for conﬁguration across the entire gain spectrum, from traditional to modern

extremes, so feel free to set the channels to your liking and needs and experiment as much as you like. We

feel conﬁdent that regardless of how you conﬁgure the two channels, the Badlander will impress you with it’s

rewarding Tone and incredible versatility.

HELPFUL HINTS

• We recommend having at least one speaker cabinet on the ﬂoor of the stage or room you are playing in.

The sympathetic resonance of the sound coming through the ﬂoor and up through your body results in a

more tactile feel that we, and most players, ﬁnd favorable. There may be times when this is impossible,

impractical or unadvisable, such as when there are many live mics with high input sensitivity dialed up on

the console or high volumes in place where the bleed factor will be too great, but whenever possible we

advise having at least one cabinet on the ﬂoor for vibe and a great feel on the strings/instrument.

• Gain is but a part of great Tone. While the Badlander is capable of mighty amounts of gain, it is not

necessarily wise to apply it in excess. It IS a modern amp, yes, but it is also capable of GREAT Classic

and more traditional sounds that see the GAIN controls used with taste and in their middle ranges in

all Modes. Sure, there are also great sounds at the top of the GAIN controls, especially in CLEAN and

CRUNCH Modes, but we encourage you to explore the less extreme gain ranges in the Modes as

well, for that is where some of the most expressive, dynamic and character-rich sounds reside.

• Use the MID control set in its middle to upper range to bring forward punch and tightness, or set below 11:00,

to scoop the sound for a wider, more 3-D sound and a feel that creates the impression of less resistance on the

strings. The MID is very powerful in determining the character and blend within the Tone Controls and it should be

experimented with in all three Modes to learn its part in the overall shape of the sound …Almost more than any of

the other controls, as its setting tends to determine much about the overall Tone as well as the feel.

• This circuit, like all those tracing their Architecture through Britain and back to LA and the ‘50s

Tweeds designed by the late, great Leo Fender, find the TREBLE control possible of very bright

sizzle and formidable cut. This can be useful at times, however we ﬁnd some of our favorite, most

balanced sounds below 12:00 on the TREBLE control. Some even turn the TREBLE all the way o

for certain things, like liquid single note sounds that are as fat as possible. Just be aware that you

may want to run the TREBLE in the lower half of its range for at least some of your favorite sounds.

• The MID control carries a fair amount of top end along with the aforementioned punch, albeit in a lower place

than that of the TREBLE. Keep in mind it can also be used to bring in attack and openness of a dierent character.

• The PRESENCE also plays its role in the overall top end and open sounding quality of the mix and often in

a more pleasing, global and easy to take frequency than that found in the TREBLE’s upper region.

• We encourage you to experiment with all three of these controls above when searching for

your perfect blend of top end, as they each represent a different region of the spectrum and

together provide the tools to achieve a great blend if you spend the time working with them.

• When using the VARIAC setting on the POWER Switch to lower the incoming line voltage, you may want

to enhance the midrange portion of the mix a bit more with the MID control than you might in full power.

VARIAC tends to make the sound more scooped and elastic, which is likely why you’d select this position

in the ﬁrst place, but just be aware you can tweak that character further either way with the MID control.

PAGE 3

• When searching for more traditional-gain Crunch or Classic Rock sounds, especially in the CLEAN

Mode, you may want to try the reduced wattage positions of the Multi-Watt Switch in addition to simply

turning the GAIN control higher. Taking this approach allows for you to increase the overdrive content

and characteristics in the power section with the MASTER control, while at the same time lower the

overall output volume to make dB levels less punishing for yourself and others who may be nearby.

• When using the EFFECTS LOOP to interface your outboard processing, use good quality shielded Audio

cables of the shortest length possible to assure the best performance and least chance of signal degradation.

Remember that anything you insert into the middle of your ampliﬁer can act as a Tone shaping device,

so we recommend high quality eects processors and good quality cabling to assure the best chance of

avoiding degradation. Though the Eects Loop is buered and in theory should be somewhat impervious

to Tonal thievery, your entire signal will be subjected to whatever the lowest common denominator

in your signal path is, so take note of this and choose your processors and cabling accordingly.

• The 8 Factory-Loaded CabClone IR selections that each channel of your Badlander can hold at one time

were chosen from the BANK A/LIVE Presets as they appear in our CabClone IR stand-alone unit. They were

selected for their ability to sound open and sit well in a variety of Mix applications, from stage performance

to recording and from small combos to more dense mixes with multiple instruments and voices.

NOTE: When manipulating IRs within the MESA IR Drive, each memory location within the 8 Presets in the MESA

IR Drive must contain one IR and one IR only. Placing two IRs in each or any of the locations, or no IR at all in

a memory location, will produce the same result as having a blank location and there will be no sound at all

in that memory location on the Cab Select Rotary.

NOTE: It is normal to hear a scratchy sound while turning the Presence Control. The Badlander employs a power

section-based PRESENCE circuit and there can be a small amount of DC voltage on the PRESENCE pot, which

is audible when you turn it. This is completely normal and there is no need for concern or servicing.

FRONT PANEL

INPUT:

This is the Instrument Input on your Badlander. Always use low capacitance, shielded Audio cable

of good quality and whenever possible in lengths below 18 Feet, preferably 15 feet or less. The Badlander is

capable of extremely high gain, so noise in the instrument cable has the potential to be ampliﬁed many times

depending on your application and settings. Therefore, always try to use low capacitance, low noise cable

between your Instrument and your ampliﬁer

FTSW:

This mono ¼” jack is the Footswitch jack for the included channel Switch. When the supplied

Footswitch and cable are connected here, you may select the channels remotely instead of using the front

panel channel Select switch located just to the left (to right on Combo) and between the Mode Select switches

for each channel.

CHANNEL SELECT:

This switch in the center of the stacked switches allows manual selection of the chan-

nels when the Footswitch is not plugged in or available. The Center position labeled FTSW accommodates

the Footswitch when plugged in to the adjacent FTSW jack and allows remote switching between the channels

via the Footswitch. Make sure the switch is in the Center position when using the Footswitch. Otherwise, the

switch moved upward selects channel 1, the switch down activates channel 2.

MODE SELECT:

These mini toggles above and below the channel Select switch selects the Modes in each

channel. In sensible fashion, the gain of each Mode increases as the switch is toggled downward. The chan-

nels are identical so the switch operates the same way triggering identical Modes in each of the two channels.

PAGE 4

GAIN:

In the Badlander, as with most MESA ampliﬁers, the GAIN is the most critical of all preamp controls.

It’s setting determines much about the character and texture, dynamic content and sustain factor of the sound

and voices the sound in all three of the identical Modes appearing in both channels.

Each mode reacts a little dierently, but generally speaking, the middle range of the GAIN control provides

enough of everything and not too much of anything. Most of the middle range is supremely useful, and for

almost any style. Best of all, here, the instrument will sound like the instrument, as its character won’t be over-

shadowed by saturation.

For classic sounds, we recommend GAIN be set in the lower to middle region, somewhere between 10:30 and

2:00. This is where you will ﬁnd the best blend of dynamic preservation and attack mixed with fullness and

sustain, again, without completely saturating the sound and covering up instrument’s character.

One good thing to remember is that the lower the GAIN control is set, the more transparency and top end you

will retain. As the control is increased the top end will start to recede and a fuller, fatter sound will emerge until

eventually, it will be very fat and compressed and possibly even a little slower feeling along with the added

drive and sustain.

Another approach is this; As GAIN goes up, BASS should come down. That is a very general, broad-sweeping

approach, but it is a fairly good way to avoid ﬂubby, indistinct attack characteristics and keep your dynamic

content as prominent and intact as possible. Still, even reducing the BASS control can’t nullify the compressing

and darkening eects created by very high GAIN settings. It helps with the frequencies in regards to preserving

the attack, but it can’t counterbalance what happens to the dynamic characteristics.

The higher region of the GAIN Control is appropriate for Classic, 70s style Rock or overdriven Blues sounds

in the CLEAN Mode, and Heavy sounds in CRUNCH and CRUSH. From 2:00 on up to 5:30/maxed, the sound

becomes very overdriven and ﬁlled with harmonic complexity. There are amazing sounds up here, you just

need to learn the ways to preserve attack and clarity through working with the BASS and other Tone controls,

as well as the overall MASTER setting, to retain as much attack and deﬁnition as possible.

Start by observing the rule of thumb outlined above: reducing BASS while increasing GAIN, and you should be

headed in the right direction. From there, some ﬁne-tuning elsewhere in the Tone Controls where appropriate,

but once you’ve familiarized yourself with the frequencies and the interaction between the controls, it shouldn’t

take long to achieve a great blend.

Also, many players into Heavy styles and fast tempos looking for the best blend of the highest gain and the

tightest tracking low end possible, tend to avoid cranking the MASTER up past the point where you can start

to feel the power section working, and stop before it is being pushed into clip.

When the power section is pushed into clip with high volumes, the tracking and dynamic character changes as

the recovery time of the power supply starts to increase. There may be times to include power clip as part of

the authentic ingredient to a sound, like Blues sounds or Classic Rock sounds in the Clean channel cranked,

however you will ﬁnd the best overall tracking and dynamic response for most styles in the middle range of

the MASTER controls/overall power output.

By all means, when possible, turn the amp up enough to get the power tubes working and doing their magic-

adding fullness and color, but more than that isn’t always better. Going past them adding color to the onset

of clip and farther into saturation will present trade-os in tracking and articulation, especially in the low end

and especially when higher GAIN settings are also applied. Like most of the controls on your Badlander, for

most sounds we suggest using the MASTER controls, and hence overall power, in the middle range for the

best overall response.

Another way to add harmonic content is to incorporate the POWER SELECT switch and switch down to the

PAGE 5

lower wattage settings. This approach will allow you to increase the MASTER and hear more of the power

tubes character, but this too must be balanced to assure the low end stays tight and tracking isn’t compromised.

The best tracking and low-end accuracy will almost always be experienced in the highest wattage setting. So,

if your music requires accurate Bass response, especially in combination with high GAIN settings, you will want

to forego the extra harmonics that might otherwise be added in the lower wattage settings and just stick with

the highest Power Setting.

TREBLE:

While the GAIN is the most powerful control in the channels, the TREBLE runs a close second.

The TREBLE is responsible for shaping the character of the Mode almost as much as the GAIN. It also tends

to overshadow almost everything except PRESENCE, seeing as these two controls deal with top end and your

ear is most sensitive at higher guitar frequencies. Since it can overpower the rest of the Tone controls easily,

its setting is crucial to a rich and balanced sound in all three of the Modes. Setting the TREBLE with care and

taste in mind is also critical for the Tone control string to work in harmony.

In all three Modes the middle region of the TREBLE delivers the best balance and creates sounds that are plenty

bright enough, but still possess the ability to be rich and warm. We suggest that you start with the TREBLE at

12:00 and adjust up or down slightly until the desired blend is achieved.

Circuits emanating from the Brit side of the Tube Ampliﬁer Family Tree and sharing that DNA tend to favor

TREBLE and PRESENCE control settings on the lower side for the best blend of attack and warmth. Depending

on guitar woods, pickups and technique, don’t be surprised if you ﬁnd great sounds below 12:00, or even all

the way down on the TREBLE, and even PRESENCE, with the MID’s broad Q carrying substantial top end and

sometimes capable of providing all the cut you need.

The MID control also carries frequencies somewhat close to those the TREBLE commands, along with the

upper mid and lower mid frequencies it is centered around. Use this to your advantage and experiment with

setting the TREBLE lower than you normally might and running the MID up a bit and vice versa. Some very cool

sounds can be found with the TREBLE lower, very low or even o and the MID higher than you may be used

to. Be sure to check the interaction between these two powerful controls, as it will be critical in achieving the

sounds you want.

MID:

The MID control, while perhaps not quite as powerful as the GAIN and TREBLE controls, does impart a

strong character on the sound of all three Modes. MID brings in and out a broad band of midrange frequencies

and – as we have mentioned earlier in the TREBLE section – along with these frequencies rides a fair amount

of higher “low treble” range frequencies. These highs are lower than those the TREBLE carries, but they are

important for the punch and cut in a mix and also the way the amp feels to play.

These midrange frequencies exhibit an interesting trait; At lower settings where the mids are scooped out,

leaving big low end and open, soaring top end, the strings can feel more forgiving, bouncier, more elastic and

easier to play. Conversely, at higher settings of the MID where this frequency creates a bump and lows and

highs are somewhat overshadowed, the sound becomes more forward and the response can feel to some

players less forgiving. Setting the Mid higher does not change anything in the physical sense, other than your

perception, however depending on how much you rely on the relationship between what your ears hear and

the tactile sensation your hands feel , you may want to give your ears and your hands some extra time to adjust

to the very dierent EQ curve.

So it goes with us guitarists …ever in search of Grail Tone. Guitar is a very tactile instrument, and like an acous-

tic instrument is sensitive to the environment, the room it’s played in, electric guitar is also aected by and

dependent on the frequencies manipulated and cut or boosted in the ampliﬁer’s preamp.

PAGE 6

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