1. INPUT jack
Use a good quality guitar cable (i.e. one that’s screened/shielded) to plug your guitar in here.
2. Clean Channel GAIN control
When the Clean Channel is selected, this control adjusts its volume. At low settings the sound will be very clean with a pleasing, bell-like ring. Turning this control above half way will introduce a desirable, bluesy distortion as the power amplifier stage is driven into ‘crunch mode’.
3. Clean Channel BASS control
Turning up the Bass control will add warmth and low-end depth to your clean sound. The Bass control can be used in conjunction with the FDD switch (17) to produce deep sounding, valve-like clean tones that are well defined yet still full and round.
4. Clean Channel MIDDLE control
Adjusting the middle frequencies in your clean channel will vary the amount of body to your sound. Attenuating (decreasing) the middle by turning this control anticlockwise will yield a more hollow sound with the bass and treble frequencies appearing to be more accentuated. Conversely, increasing the middle will add body to the Clean Channel’s sound.
5. Clean Channel TREBLE control
Increasing the Treble will make your clean sounds brighter and more cutting, turning it down will decrease your tones edge and make it sound softer as a result.
6. CHANNEL SELECT switch
This push switch allows you to change between the amp’s two channels, Clean and Overdrive, via the front panel. When this switch is ‘out’ the Clean channel is engaged, pushing it ‘in’ switches to the Overdrive Channel. Channel switching can also be done via the included two-way footswitch (when the footswitch is connected the CHANNEL SELECT switch is not functional).
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Note: When the Overdrive Channel is selected, the OD LED (7) will light up red.
7. OD LED
When illuminated, this LED indicates that the Overdrive Channel has been selected by either the Channel Select switch (6) or the supplied two-way footswitch.
8. Overdrive Channel GAIN control
Turning up the Gain control will increase the amount of preamp distortion generated in the Overdrive Channel. Low Gain control settings will produce classic rock and blues tones. Crank this control for fat and aggressive sounds that are perfect for soloing or hard rock and nu-metal riffing.
9. Overdrive Channel BASS control
Turning up this control will add extra low-end ‘thump’ to high gain riffs and a warm, natural sounding depth to lower gain crunch tones. Using the Bass control in conjunction with the FDD switch
(17)will allow you to dial in the exact amount of low-end ‘thump’ and tightness you are looking for.
10. Overdrive Channel CONTOUR control
This highly effective tone control works by radically modifying the mid-range (body) of your sound. The tone can vary from traditional and woody sounding (control set at 0), to balls-to-the- wall (control set midway), to aggressive, ‘scooped’ and modern (turned up to 10) and all points in- between.
11. Overdrive Channel TREBLE control
This important knob controls the aggressive top- end ‘sizzle’ you have on high gain sounds and the ‘cut’ and definition of lower gain crunch tones.
Experimenting with this control will help you to dial in your own signature tones on your amp.
12. Overdrive Channel VOLUME control
This control adjusts the volume of the Overdrive Channel. The louder you turn-up this channel, the ‘looser’ your amp will sound and feel – especially with the FDD switch (17) engaged. This behaviour is exactly what a good all-valve amplifier does and is a result of our proprietary FDD circuitry.
13. Digital FX PRESET / ADJUST control
This control serves a dual purpose. Not only does it allow you to select one of the four types of effects on offer (Chorus / Delay (CHR/DLY), Delay (DLY), Chorus (CHR) or Flange (FLG)), it also allows you to adjust a parameter as you sweep it through each of the four effect segments. The parameter you can adjust for each of the four effect segments is shown below:
Effect | | Adjustable | | | Description |
| Parameter | | |
| | | | |
| | | | | |
Chorus and | | Delay Time | | | This multi-effect combines a lush, fixed speed |
Delay | | (from short to long as you | | | Chorus with a variable time Delay. |
(CHR/DLY) | | turn the Preset/Adjust | | | |
| | control clockwise through | | | |
| | the CHR/DLY segment) | | | |
| | | | | |
Delay (DLY) | | Delay Time | | | Short Delay Times will have less repeats for |
| | (from short to long as you | | | ‘groovy’ surf and rockabilly tones. Increasing the |
| | turn the Preset/Adjust | | | Delay Time increases the number of repeats for a |
| | control clockwise through | | | much more atmospheric, ‘stadium’ effect. |
| | the DLY segment) | | | |
| | | | | |
Chorus (CHR) | | Speed | | | At slow Speeds a mellow, Phase-like sweep |
| | (from slow to fast as you | | | occurs. As the Speed is increased a more |
| | turn the Preset/Adjust | | | traditional chorus effect is heard. At maximum |
| | control clockwise through | | | Speed, a psychedelic vibrato results. |
| | the CHR segment) | | | |
| | | | | |
Flange (FLG) | | Speed | | | At slow Speed settings the amount of |
| | (from slow to fast as you | | | regeneration is increased for huge ‘jet engine- |
| | turn the Preset/Adjust | | | like’ sweeps. As the speed is increased the |
| | control clockwise through | | | regeneration decreases to produce a lush, |
| | the FLG segment) | | | natural sounding Flange effect. When the Speed |
| | | | | is maxed out, a fast vibrato results. |
| | | | | |
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