CONTROLS: (Continued)
R1 PRESENCE:
This control adjusts frequencies higher than those found on the TREBLE control. There are so many different sounds that RHYTHM 1 can produce, you must experiment using your guitar and your ears. Try settings such as low on the TREBLE control, high on the PRESENCE control...and the opposite...as an experiment, both with and without the BRIGHT switch.
7 | 6 |
| 5 |
| 4 |
2 | 3 |
|
R2 MID
| 10 |
| |
0 |
| 9 | |
1 |
|
| 8 |
2 |
|
| 7 |
3 |
|
| 6 |
4 | 5 |
| |
R2 TREBLE
PRESENCE CONTROLS
6 | 5 | 4 |
|
|
7 |
| 3 | ||
8 |
|
| 1 | 2 |
9 |
|
| ||
10 | 0 |
|
| |
|
|
|
| |
SHIFTPULL
Notice too that when playing very loud, higher settings of the PRESENCE will help you cut through the background wash of cymbals. Don’t forget to turn RHYTHM 1 up loud and blow...It’s a great overdrive sound as well !
R1 MASTER:
This MASTER control
2 |
|
| 7 |
| 2 |
|
|
|
| 7 | |
3 | 4 |
| 6 |
| 3 |
|
|
| 6 |
| |
| 5 |
|
| 4 | 5 |
|
|
| |||
R2 TREBLE |
| R1 |
|
|
|
|
| ||||
LEAD DRIVE |
|
|
|
|
|
| |||||
|
|
|
|
|
|
|
| ||||
| 10 |
| PRESENCE MASTERS |
| 5 | 4 |
|
| |||
4 | 5 |
| 10 |
|
|
|
| ||||
0 |
| 9 |
| 6 |
|
|
| 3 | |||
1 |
|
| 8 |
| 7 |
|
|
| |||
2 |
|
| 7 |
| 8 |
|
|
|
| 1 | 2 |
3 |
|
| 6 |
| 9 |
|
| 0 |
| ||
|
|
|
|
|
|
|
| ||||
|
|
|
|
|
|
|
|
|
| ||
|
|
|
|
|
|
|
|
|
|
|
|
adjusts the signal level of the RHYTHM 1 mode. It allows you to run various settings of the RHYTHM 1 GAIN while still controlling overall RHYTHM 1 volume via the MASTER. That’s important because of the striking tonal differences the BRIGHT switch makes at lower and higher settings of gain, and because high GAIN control settings are useful for producing “onset of clip” distortion sounds. The R1 MASTER also acts as an Effects Send Level control for RHYTHM 1.
RHYTHM 2 GAIN & FAT: |
|
RHYTHM 2 GAIN sets the overall characteristic of this mode, which is the most versatile of the three modes. At high settings 9 | 10 |
and with the FAT switch pulled, RHYTHM 2 produces its maximum gain for crunch and can double as an alternate lead sound. This modes’ gain falls off quickly as the control’s knob is reduced, providing a range of
produce an alternate voicing for clean sounds at its lowest settings.
8 | 7 | 6 | 5 |
|
| 4 | |
9 |
|
| 3 |
|
|
|
10 | 2 |
0 | 1 |
|
RHY1 GAIN
INPUT
PULLBRIGHT INSTRUMENT
8 | 7 | 6 | 5 | |
|
|
| 4 | |
9 |
|
|
| 3 |
10 |
|
| ||
|
| 2 | ||
| 0 | 1 | ||
|
|
| ||
RHY2 GAIN
PULL FAT
PULL FAT has tremendous impact on both the gain and voice of RHYTHM 2. When pushed in, RHYTHM 2 loses gain in the low mids and the sound reveals more of your guitar’s inherent personality. For clean playing or blues styles you’ll probably prefer the FAT pushed in. Work with the R2 TREBLE control and PRESENCE controls to dial in traditional
R1 + R2 BASS & R1 + R2 MID:
These are the only shared tone controls on the MARK IV. You probably won’t need much adjustment from their RHYTHM 1 setting because they are designed especially to have less dramatic effect in RHYTHM 2. Again you’ll notice that the strength of these controls is influenced by how high or low the RHYTHM 2 TREBLE is set.
8 | 7 | 6 | 5 |
|
| 4 | |
9 |
|
| 3 |
|
|
|
10 |
| 2 |
| 0 | 1 |
|
|
R1 TREBLE
5 | 4 |
|
6 |
| |
3 | ||
7 |
| 2 |
8 |
| |
9 | 0 | 1 |
10 |
| |
|
| |
R1+ R2 BASS
5 | 4 |
|
6 | 3 | |
7 |
| 2 |
8 |
| |
9 | 0 | 1 |
10 |
| |
|
| |
R1+R2 MID
Excessive settings (especially of the BASS control) can cause a flubby sounding distortion if the TREBLE control is set low.
PAGE 4