Mesa/Boogie TITAN V-12

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CHANNEL_SELECT: This three position mini toggle provides manual access to the TITAN’s two preamp Channels when

you’re in the studio or you just don’t want to bother with connecting the footswitch. The upper position (toward the CH1 LED)

activates Channel 1, the middle position labeled “FTSW” activates the Footswitch (when connected) and the

lower position (toward the CH2 LED) activates Channel 2.

NOTE: The FTSW (middle) position of the Channel Select toggle calls up Channel 1 as the default setting.

OVERDRIVE:

CH._1_&_CH._2_O-D: These controls determine the amount and volume level of all-tube overdrive that can be blended with the

regular “clean” preamp signal. CH. 1 & CH. 2 O.D. allow you to blend in the desired amount of gain, while the two O.D. LEVEL con-

trols are responsible for the level of this footswitchable feature in each Channel. The OVERDRIVE mode creates a whole new realm

of sounds that range from a soft-clip purr, to fully saturated grind. The overdrive has been tailored speciﬁcally for bass applications

and does not disturb the blend dialed up on the tone controls.

The OVERDRIVE circuit is activated via either the Front Panel “Pull” Function on each of the CH. 1 & 2 O.D.

controls or by triggering OVERDRIVE on the included Footswitch.

In the lower region of the OVERDRIVE control, you will ﬁnd that a subtle boost can create footswitchable

soloing options where the added gain is merely thickening, rather than saturating, the signal. Because this

circuit has its own MASTER control, stepping out can be easy and controllable. You won’t have to rely on

band dynamics or house sound engineers to give you a little volume bump when you need it.

Set the OVERDRIVE control above 12:00 and the higher gain potential of this circuit is revealed. Here a

wide range of more obviously overdriven sounds appear that can be used to mimic an analog synth or provide the grinding aggres-

sion for an integral part in a heavy song. This range showcases how amazingly tight the overdrive tracks, and makes this mode an

essential part of the TITAN’s sonic power and magic.

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 be 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 you may come to ﬁnd it 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.

FrONT PANeL: CONTrOLs & FeATures (Continued)