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example, somewhere between
2
thru
6
. In the RHYTHM Channel try setting this control somewhere between
3
thru
8
.
Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occuring, while at the same time making
the two channels easier to balance in volume and effects send strength.
By now you have probably noticed the top channels’ GAIN Control is fitted with a PULL BOOST. This activates a relay that simulta-
neously switches several parts internally to produce a great high gain rhythm sound.
This boost transforms the RHYTHM Channel into an over the top crunch channel or a unique and different
lead sound that is more dynamically aggressive and stripped. Pulling this control revoices everything so
that the Gain is dramatically increased and the whole range of upper harmonics is lowered in frequency
and boosted substantially. Check out a setting with control pulled and set to about
8
. GRINDING? If this
isn’t enough gain for you yet...wait....there’s more to come!
As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. Its setting on the DC-5 deter-
mines the blend and strength of the MIDDLE and BASS Controls. Set high, it is the dominant control, minimizing the amount of MID
and BASS that would be possible in the mix. Set low, the TREBLE becomes the recessive control
and a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to
produce the best results.
Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost. In the DC-5 a third over the top crunch
sound was made possible by the inclusion of the RHYTHM Channels dual purpose MID Control. From
0
to about
3
the taper
is adjusted to act as a very effective MID Control. As you increase the MID to
4
and
above, you will hear the lower Mids getting more pronounced and fatter. At about
6
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 RHYTHM Channel’s
GAIN Control for all kinds of higher gain rhythm sounds. Try the MID set high and the
GAIN Control at about
6
7
for a cool blues solo sound. “Dime” the MID and activate
the GAIN Control’s Pull Boost for a grinding crunch rhythm sound. If this still isn’t crazy
enough for you...Max the GAIN and TREBLE Controls and set the PRESENCE Control
to
0
or
1
, turn on the Graphic and give it the old “V” curve and plug into a 4x12 with
some Celestion Vintage 30’s or 25’s. This should be sufficently heinous for even the sickest crunch fiends. As you can see, the
versatility that this dual purpose MID control lends to the rhythm channel greatly expands its usefulness as both a clean and overdrive
channel.
NOTE: The lower region of the MID Control determines midrange punch and boldness in lower gain sounds and a smooth vocal
blend in high gain sounds. It can be very effective acting as a “cut through the band control” in certain situations. Remember, settings
of the TREBLE Control greatly affects this controls strength.
CONTROLS:
(Continued)
GAIN (
continued
)
RHYTHM CHANNEL PULL BOOST:
GAIN
PULL BOOST
INPUT
FOOT
SWITCH
5
4
TREBLE:
GAIN TREBLE
PULL BOOST
INPUT
FOOT
SWITCH
5
5
MIDRANGE:
GAIN TREBLE MID
PULL BOOST
INPUT
FOOT
SWITCH
2
5