Mesa/Boogie DC5 CONTROLS Continued, GAIN continued, Rhythm Channel Pull Boost, Treble, Midrange

CONTROLS: (Continued)

GAIN (continued)

example, somewhere between 2 thru 6 . In the RHYTHM Channel try setting this control somewhere between 3 thru 8 . Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occuring, while at the same time making the two channels easier to balance in volume and effects send strength.

RHYTHM CHANNEL PULL BOOST:

By now you have probably noticed the top channels’ GAIN Control is fitted with a PULL BOOST. This activates a relay that simulta- neously switches several parts internally to produce a great high gain rhythm sound.

INPUT	PULL	BOOST	This boost transforms the RHYTHM Channel into an over the top crunch channel or a unique and different
	5
			lead sound that is more dynamically aggressive and stripped. Pulling this control revoices everything so
SWITCH			that the Gain is dramatically increased and the whole range of upper harmonics is lowered in frequency
	GAIN		and boosted substantially. Check out a setting with control pulled and set to about 8 . GRINDING? If this
FOOT
	4		isn’t enough gain for you yet...wait....there’s more to come!

TREBLE:

As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. Its setting on the DC-5deter- mines the blend and strength of the MIDDLE and BASS Controls. Set high, it is the dominant control, minimizing the amount of MID and BASS that would be possible in the mix. Set low, the TREBLE becomes the recessive control

INPUT	PULL	BOOST	and a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to
		5
			produce the best results.
FOOT	GAIN	TREBLE
SWITCH		5

MIDRANGE:

Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost. In the DC-5a third over the top crunch sound was made possible by the inclusion of the RHYTHM Channels dual purpose MID Control. From 0 to about 3 the taper

				is adjusted to act as a very effective MID Control. As you increase the MID to 4		and
INPUT	PULL	BOOST	2	above, you will hear the lower Mids getting more pronounced and fatter. At about		6
				the MID leaves behind the old notion of being a tone control and becomes a truly
				usuable gain control. This upper range is a smokin’ addition to the RHYTHM Channel’s
FOOT	GAIN	TREBLE	MID	GAIN Control for all kinds of higher gain rhythm sounds. Try the MID set high and the
SWITCH			5	GAIN Control at about 6	7 for a cool blues solo sound. “Dime” the MID and activate

the GAIN Control’s Pull Boost for a grinding crunch rhythm sound. If this still isn’t crazy enough for you...Max the GAIN and TREBLE Controls and set the PRESENCE Control to 0 or 1 , turn on the Graphic and give it the old “V” curve and plug into a 4x12 with

some Celestion Vintage 30’s or 25’s. This should be sufficently heinous for even the sickest crunch fiends. As you can see, the versatility that this dual purpose MID control lends to the rhythm channel greatly expands its usefulness as both a clean and overdrive channel.

NOTE: The lower region of the MID Control determines midrange punch and boldness in lower gain sounds and a smooth vocal blend in high gain sounds. It can be very effective acting as a “cut through the band control” in certain situations. Remember, settings of the TREBLE Control greatly affects this controls strength.

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