Mesa/Boogie 100 Manuel D’Utilisation

TREBLE :  (

   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. 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.

   The MIDDLE Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as

that of the TREBLE Control, it plays an integral part in achieving any sound in your Nomad. It is capable of changing the feel dramatically

as it blends in a group of frequencies that tend to soften or stiffen the way a
sound feels to play.

Most players tend to lean in the direction of lower MIDDLE Control settings (
7:00 - 11:00 ) where a scoop in this region produces girth ( by letting the Bass
become a little more dominant ) and a lack of punch lends a more compressed,
even feel to the strings and therefore less apparent resistance to the pick. As
the MIDDLE Control is increased, ( 11:30 - 1:30 ) the sound is rounded-out and
filled-in with a focused mid attack appearing rather quickly. As you would guess,
the feel starts to change - becoming more resistant. Above this region the
MIDDLE Control could be used to compensate for either weaker pick-ups or for
times when a specific deficiency is produced by either an extremely high setting

of other tone controls, or a physical anomaly in the room. While these MIDDLE Control settings ( 2:00 - 5:00 ) can introduce added gain
and create enhanced focus, the trade-off will be a stiffer, more forward, less compressed feel.

Channel 1 utilizes a different MIDDLE Control than that of the Channels 2 and 3 with a custom-designed taper and value. In its low
range ( below 12:00 ) it functions as a normal midrange control with a taper suited to blending fine increments of these frequencies. Most
players lean toward a fairly radical scoop ( 7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus
producing the signature sparkle and breath essential for a pristine clean sound.

As Channel 1’s MIDDLE Control is swept past 1:00, it quickly starts to add gain in these midrange frequencies adding cut and punch. As
the top end of the control is reached, ( 3:00 - 5:00 ) it becomes an additional gain control capable of taking both CLEAN and PUSHED
modes to extremes. Experiment with this cranked region in conjunction with extreme settings of the other tone controls to balance both
sound and feel. While this added flexibility may make Channel 1’s MIDDLE Control a little more tricky to learn at first, it will become quite
valuable as you start to realize the power of this super versatile channel.

   Last, but definitely not least in the string of tone controls we, come to the BASS Control. This control works similarly in all three

channels in that it determines the amount of low frequencies present in a sound. However, the actual frequencies and style of lows it mixes
in changes from channel to channel. Like the MIDDLE Control, it falls in line signal-wise after the TREBLE Control and the same scheme

applies. When the TREBLE Control is set high the effectiveness of
the BASS and MIDDLE Controls is reduced. If the TREBLE Con-
trol is set low these two controls become dominant.

For the most balanced sound and a balance of power between the
three rotary tone controls, try to use the TREBLE Control in its
middle ranges. This scenario produces nearly equal representa-
tion of all the frequencies on the tone controls and provides a great
nuetral starting point for further tweaking.

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