Mesa/Boogie M-pulse Simul State Bass Amplifier - Manual (Page 10)

FRONT PANEL CONTROLS:
(Continued)
TREBLE: Continued retaining all the necessary cut and focus associated with a traditional passive TREBLE control.
As the control is dialed below 12:00, it begins a 6db per octave cut from 3.2Khz to the shelving point at 723Hz, where it continues to
attenuate all frequencies above 723Hz until - 20db is reached where
cut gain remains constant until the control reaches 7:30 (off). The
ability to cut these frequencies more radically makes it possible to obtain incredibly rich and warm old-school R&B and Jazz sounds
that rival any recordings of the day.
This active shelving TREBLE control completes the rotary tone control string to create a powerful and extremely accurate network to
use as your fundamental platform. It’s no wonder many first time
M-PULSE players make the comment that just these controls
combined with the GAIN create the best tone they have ever heard!
NOTE: As with the BASS control, may we remind you that a control of this type with its increased power should be used with finesse.
In the TREBLE’S case, almost more so, because higher frequencies seem louder to the ear and are generally more painful when set
to extremes. Another reason to use care is that high frequencies tend to increase the ambient noise floor when set too high. This is
then exacerbated if the 5 Band Parametric is combined for added top end boost. Dial with care and music in mind.
PARAMETRIC EQUALIZER: Your M-PULSE is equipped with a powerful 5 BAND SEMI-PARAMETRIC EQUALIZER that
allows you to shape your signal to achieve virtually any sound. Anything from subtle enhancement to extreme notching or boosting is
possible with the only limit being your imagination. The EQ can be used in combina-
tion with the rotary tone controls and left active in the signal path to achieve your
main sound or, it may be remotely triggered from the Footcontroller to achieve unique
footswitchable solo sounds or a different sound for an alternate instrument.
As you can see the EQ section is comprised of three elements; the Program toggle
switch and LED indicator, the 5 GAIN controls on the top row, and the FREQUENCY
controls on the bottom row. The Program toggle puts the EQ “in” where you want it,
the GAIN control for each band lets you decide how much cut or boost of the corre-
sponding frequency you want, and the FREQUENCY control lets you decide the
specific frequency within that band.
Since the Program switch is pretty much straightforward with ON and OFF being just
that - and F.S. being controlled by the Footcontroller, we will move right to the GAIN and FREQUENCY controls.
GAIN CONTROLS: Parametric EQ These 5 GAIN controls adjust the amount of whatever frequency has been zeroed-in on
for manipulation with the FREQUENCY control. Each of the 5 GAIN controls allows a full 30db of gain adjustment with 15db of cut and
15db of boost from the center (12:00) 0db position. When searching for sounds it is sometimes faster to either notch or boost the
respective GAIN control radically and the sweep for the desired frequency with the
FREQUENCY control. This way it will be very apparent what you are doing to the
sound.
This is a good place to mention again that, because of the strength of the 5 GAIN
controls, it is possible to very quickly go beyond the realm of balanced musical tone
and blow holes in your mix. Therefore, start by building a great sound using the stan-
dard rotary TONE controls and then begin with subtle tweaking of the frequencies
using the PARAMETRIC. Don’t start boosting everything all over the bandwidth and
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0 db 0 0 0 0
40 Hz 120 400 1.4K 6K
E N G I N E E R I N G
0 db 0 0 0 0
40 Hz 120 400 1.4K 6K
SEMI - PARAMETRIC EQUALIZER
30 90 250 900 4K
E N G I N E E R I N G