Mesa/Boogie LoneStar Amplifier - Manual (Page 12)

PAGE 8
FRONT PANEL: Controls & Features
(Continued)
BASS: (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 pre-amp stage
and affects frequencies higher than those of the TREBLE control. It acts independently of the other rotary tone controls and is crucial
in voicing the Channel. It is a powerful global tone control. Lower
PRESENCE control settings darken and, in fact compress the signal
which works well to fatten single note solo sounds, giving them girth and focus.
Some of the best lead sounds in your LONE STAR will fi nd the PRESENCE control
in it’s lower regions, where a balanced, vocal response is achieved.
MASTER:
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can see each
Channel is fi tted with its own MASTER control, enabling both channels relative volumes to be matched regardless of their extremely
different sound styles and gain signatures. The MASTER control makes possible a wide range of sounds through its ability to use
very low Gain sounds at high volumes and conversely, high Gain sounds at low volumes and everywhere between.
Again, we suggest using the MASTER control in its sensible ranges ( 9:00 - 2:00 ). sensible sensible
Here, the channels will be easier to match with each other and the Effects Loop will see
more reasonable signal levels.
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
pair of 6L6 can achieve. This powerful feature can be crucial to the sound style you wish
to dedicate to each of your two channels.
For example you might want to use Channel 1 set to 100 watts and use all four 6L6’s to
achieve the ultimate clean headroom and power. Meanwhile, Channel 2 could be cranked
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
TREBLE PRESENCE MID BASS
MASTER BASS PRESENCE
100 W
50 W
100 W
50 W
100 W
50 W
100 W
50 W
OUTPUT LOOP ON SOLO
MASTER