FRONT PANEL: Controls & Features (Continued)
Note: The BASS control in both channels of your LONE STAR is very powerful and though we have taken steps to ensure a balanced tone is easy to achieve, it is wise to blend with subtle nuance in mind. This is especially true in Channel 2 when using either the regular Channel 1 style gain circuitry cranked, or the DRIVE circuitry for higher gain lead sounds. A good rule to follow is this; as you increase the GAIN reduce the BASS. Following this scheme will retain balance and keep the attack of the notes dynamic, tight and touch sensitive.
PRESENCE: The PRESENCE control is a high frequency attentuator that is placed at the end of each channels
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| Some of the best lead sounds in your LONE STAR will fi nd the PRESENCE control |
TREBLE | MID | BASS | PRESENCE | in it’s lower regions, where a balanced, vocal response is achieved. |
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MASTER: This control is the master feed from the end of the
100W
50 W
Again, we suggest using the MASTER control in its sensible ranges ( 9:00 - 2:00 ). Here, the channels will be easier to match with each other and the Effects Loop will see more reasonable signal levels.
BASS PRESENCE MASTER
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50 W
NOTE: Because the MASTER control creates the send to the Effects Loop, extreme settings will cause a large signal to be sent to the Loop for that Channel. Not only may this cause possible overloading of the processors Input stage, but will make balancing both channel’s Effect Send level diffi cult.
NOTE: When the Effects Loop is set to HARD BYPASS, the individual Channel MASTER controls act as the fi nal output controls. This is a result of removing all associated Loop circuitry - and since the OUTPUT and SOLO controls are part of the Effects Return stage - they are bypassed as well.
100W / 50W: Channel Power Select: These channel specifi c mini toggle switches allow you to preset the output power of each
channel. In the 100 watt setting (up) all four 6L6 are on line, delivering maximum power and punch. The 50 watt setting runs only the outside (far left & far right) tubes to achieve the bubbly elastic bounce only a
| 100 W | pair of 6L6 can achieve. This powerful feature can be crucial to the sound style you wish | |
| OUTPUT LOOP ON SOLO | to dedicate to each of your two channels. | |
MASTER | 50 W | For example you might want to use Channel 1 set to 100 watts and use all four 6L6’s to | |
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| achieve the ultimate clean headroom and power. Meanwhile, Channel 2 could be cranked | |
50 W | and dedicated to a power clip solo sound by setting the power select switch to 50 watts | |
and bypassing the DRIVE circuitry for an awesome old school power section pushed | ||
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