Control | Mesa/Boogie Big Block 750 specs

FRONT PANEL CONTROLS: (Continued)

OVERDRIVE: (Continued) Note that the GAIN control is still active when the OVERDRIVE is switched into the signal path. The GAIN control is wired in series with the OVERDRIVE and therefore, it can be used to further fine-tune the amount of overdrive present in the mix. The effect of the GAIN control is more apparent at the lower region of the OVERDRIVE control, where sweeping the GAIN is very noticeable. At higher OVERDRIVE settings it has a fairly diminished effect. Generally speaking, the sound will brighter and more scooped in the mids at lower GAIN settings, while higher settings will produce a fuller, richer sound with less emphasis on upper harmonics.

We hope you find the OVERDRIVE mode a fun and musically expanding addition to an already amazing sounding preamp. Over time we believe you wil come to findit an invaluable part of your sound.

GAIN: This control determines the overall character of the input sensitivity. The lower regions of the control (below 12:00) lend greater headroom and provide a scooped, brighter personality. The upper harmonics come through more prominently in this area of the control making the top end sound more transparent and sweet. This region is especially useful for funkier stuff when thumbing is in order. It keeps the rubber- band feel intact in the lows and mids while voicing the snap just high enough to avoid harshness, or the

dreaded “gak” when the G string is plucked.

S I M U L S T A T E TM B A S S A M P L I F I E R

OVERDRIVE GAIN

As the GAIN control is increased past 12:00 a richer, more “well-rounded” voice becomes dominant and headroom starts to diminish in increments until eventu- ally, a tube overdrive sound appears as the 12AX7 input tube is driven into satura- tion.

INPUT TUNER

MUTE

The region between 12:00 and 2:30 is where the classic, warm tube sound re- sides and within this narrow band you will discover a world of tone. Tiny incre- ments here produce subtle, but important differences in the attack characteristic which in turn, feel like changes in the time domain.

By experimenting with the amount of gain, you can actually voice the amp to feel as if it bounces just ahead of the groove - or lays back a little deeper to produce a more Fatback feel. The difference in attack and sustain produces striking results as to how the bassist - and in fact the whole band - perceives things in the time domain.

BASS: This control is responsible for the basic mix of low frequencies in the tube pre-amp. The BASS control is an active shelving type control as opposed to a passive style control. This means that a center Q point has been chosen and this control allows you to either boost or cut that frequency. This control differs from the low bands of the Parametric in that it has a broader Q point with a more gentle ramp as opposed to the Parametrics’ narrow Q that is used with a separate GAIN

S I M U L S T A T E TM B A S S A M P L I F I E R			control.
			The BASS control is actually a gain and frequency control all rolled into
OVERDRIVE	GAIN	BASS	one with the Q center at 55Hz and harmonics in both low and high direc-
INPUT TUNER			tions are affected because of its broader band nature. As the control is
MUTE			increased past 12:00 there is a 6db per octave rise in gain with the fre-
MUTE			quency topping out at 321Hz. With 12:00 straight-up representing “flat” (a

			no boost/no cut setting). As the BASS control is dialed below 12:00, 55Hz
			and all associated harmonics are reduced and eventually notched com-

pletely out of the signal. Conversely, there is a 6db per octave cut beginning at 55Hz going down to 20Hz where the shelving ends with a cut gain of -20db as the control approaches 7:30 (off).

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