Mesa/Boogie OOGIEBMESA - Manual (Page 9)

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MIDDLE: Through endless daily tone dreaming, the "if-only" design dictum led to the MID Control that doubles as a dial-in
gain boost. From to about the taper is adjusted to act as a very
effective MID Control. As you increase the MID to and above, you will
hear the lower Mids getting more pronounced and fatter. When the MID
Control is set above 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 ROCKETS' RHYTHM
Mode and in conjunction with the GAIN Control all kinds of higher gain
rhythm sounds are possible. Try the MID Control set high and the GAIN Control at about for a cool blues solo sound. For
a grinding crunch rhythm sound "Dime" the MID Control and stand back ! If this still isn’t crazy enough for you..."Max" the GAIN
and TREBLE Controls and set the PRESENCE Control to . This should be sufficient enough fuel to get you to the next
planet! The versatility that this dual purpose MID Control lends to the RHYTHM Mode of the
ROCKET greatly expands its
usefulness as both a clean and overdrive Mode.
6
3
FT.SWITCH
INPUT
RHY
GAIN MASTER
LEAD
TREBLE MIDDLE
2
3 4 5
6
7
8
9
1
010
0
4
6 7
0 1
0 3 The lower region of the MID Control determines midrange punch and boldness in lower gain sounds and a
smooth "vocal like" blend in high gain sounds. It can be very effective acting as a "cut through the band control" in certain
situations. Dial to taste, remembering that the setting of the TREBLE Control greatly effects this control’s strength. NOTE
BASS: This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE
Control. It should be set with moderation, as extreme
settings in either low or high directions can produce an
unbalanced tone. In any one of the three Modes, be
especially careful using higher Gain settings. Too much
BASS will cause a flabby unfocused sound that can’t be
dialed out because excessive BASS has been introduced to
the pre-amp in the early stages. Try setting the BASS to
for clean sounds in the RHYTHM Mode and or below
when dialing up High Gain overdriven sounds in this Mode. In the LEAD Mode, try setting the BASS somewhere between
These settings will depend upon the amount of Gain and Treble that you have dialed up.
FT.SWITCH
INPUT
RHY
GAIN MASTER
LEAD
TREBLE MIDDLE BASS
2
3 4 5
6
7
8 9
1
0
10
6
4
0 3 .
BASS
3
PRESENCE: The PRESENCE Control attenuates the high end and controls dynamic compression in the power section.
High settings produce more sparkle, cut and
lend a more "open" quality to the RHYTHM
Mode. Low settings of the PRESENCE Control
compress the sound and enhance the more
vocal like qualities of single notes.
This control can also produce a fatter, warmer
character, especially in the LEAD Mode. Lower
Treble settings, combined with low PRESENCE Control settings produce the richest and roundest lead sounds. For a clean sound,
try setting the PRESENCE Control at around for the sweet blend of sparkle and cut in the RHYTHM Mode. This range in
the RHYTHM Mode also tends to give the impression of more headroom. Try a LEAD Mode PRESENCE Control setting of to
start with and adjust to desired taste.
FT.SWITCH
INPUT
RHY
GAIN MASTER
LEAD
TREBLE MIDDLE PRESENCE
2
3 4
5
6
7
8 9
1
0
10
5 6 or
Avoid setting the PRESENCE Control to when High Gain and Treble settings are in use. This reduces the likelihood
of annoying microphonic tube problems occurring. NOTE
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