Справочник Пользователя для Mesa/Boogie 100
PAGE 9
BASS: (
Continued)
The Bass frequencies are, as we mentioned, different in each channel and appear as follows:
CHANNEL 1: Enhanced low and sub-low regions provide warmth and most importantly, breath for clean sounds which produces a
bouncy, elastic feel and natural sounding fundamental, yet with plenty of air.
bouncy, elastic feel and natural sounding fundamental, yet with plenty of air.
CHANNEL 2: Sub-low extension defines this channels bottom end character and produces the deepest sounds in your Nomad. This is
the fattest channel for single note work and chording will sound huge...especially when higher GAIN Control settings are applied. If you are
not careful with the BASS Control in this channel - it may spoil you and leave you with a good case of EQ overhang...leaving the other
channels sounding almost “thin” by comparison.
the fattest channel for single note work and chording will sound huge...especially when higher GAIN Control settings are applied. If you are
not careful with the BASS Control in this channel - it may spoil you and leave you with a good case of EQ overhang...leaving the other
channels sounding almost “thin” by comparison.
Also, don’t be surprised if at first, Channel 2 feels slower and a bit harder to steer. It can take a while for your picking technique to adjust
to pushing around a sound of this girth. You will adjust and quickly find that these extra-low lows make for some unbelievable solo sounds.
to pushing around a sound of this girth. You will adjust and quickly find that these extra-low lows make for some unbelievable solo sounds.
CHANNEL 3: In this channel the opposite approach is taken and the emphasis is not on how low can you go, but rather how tight can you
get. By raising the low frequencies and focusing on how well they track - and stop after the note sounds, a totally different personality
emerges. This tracking characteristic adds bounce to both chording and single note styles and is essential for urgent high gain rock
sounds. Due to its higher, tighter nature this BASS Control may be set higher than that of the other two channels without the feel of
becoming slow or clumsy. In fact, this is the one control you can even run all the way up without worry.
get. By raising the low frequencies and focusing on how well they track - and stop after the note sounds, a totally different personality
emerges. This tracking characteristic adds bounce to both chording and single note styles and is essential for urgent high gain rock
sounds. Due to its higher, tighter nature this BASS Control may be set higher than that of the other two channels without the feel of
becoming slow or clumsy. In fact, this is the one control you can even run all the way up without worry.
NOTE: Do Not run the Bass all the way up in any channel when using the direct Recording Output ! Damage to the playback
monitors could occur. When using the direct Recording Output, start with the Bass set relatively low and set conservative ( safe ) input
levels at the console first. When levels are satisfactory you may then increase the BASS Control slowly and adjust levels as you go in
order to prevent damage to playback monitors.
monitors could occur. When using the direct Recording Output, start with the Bass set relatively low and set conservative ( safe ) input
levels at the console first. When levels are satisfactory you may then increase the BASS Control slowly and adjust levels as you go in
order to prevent damage to playback monitors.
As mentiond earlier, each of the Nomads’ three channels contain two different modes so that each channel may be configured for an array
of different sound styles. These opposing modes are selected by the mini-toggle switch located inside each channels borders. The upper
position of the toggle in each channel is labeled “NORMAL” and calls up the “primary” sound for that channel. This scheme allows for quick
demo tours through the three channels and provides the fastest understanding of the footswitchable possibilities with quickly identifiable
sounds. Once this configuration has been auditioned and the channels explored, the modes can be drastically modified by a simple flick
of the switch. As you will hear, these switches alter the voice of each channel radically as several different internal changes occur per
channel. How you choose to utilize these alternate sounds is up to you and experimentation can lead to some of the most versatile
footswitching you could find in any amplifier.
of different sound styles. These opposing modes are selected by the mini-toggle switch located inside each channels borders. The upper
position of the toggle in each channel is labeled “NORMAL” and calls up the “primary” sound for that channel. This scheme allows for quick
demo tours through the three channels and provides the fastest understanding of the footswitchable possibilities with quickly identifiable
sounds. Once this configuration has been auditioned and the channels explored, the modes can be drastically modified by a simple flick
of the switch. As you will hear, these switches alter the voice of each channel radically as several different internal changes occur per
channel. How you choose to utilize these alternate sounds is up to you and experimentation can lead to some of the most versatile
footswitching you could find in any amplifier.
CLEAN / NORMAL: This is the lowest gain circuit of the Nomads six modes and is opti-
mized 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.
mized 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
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.
to avoid flubbiness and preserve a focused attack.
The Controls:
(Continued)
Channel Modes:
INPUT
CLEAN
(NORMAL)
PUSHED
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH1
Channel 1 NORMAL / PUSHED