Filter
Top Products
PAGE 8
PRESENCE CONTROL: (Continued) CHANNEL 2 PRESENCE is extremely important in achieving the desired lead and crunch rhythm
sounds. It responds like a focus or spread control for high gain chording sounds and for solo sounds it does a great job of compressing or
putting the sound forward. When using high gain chording sounds run the PRESENCE from roughly 12:00 to 5:30 and check out how it
spreads the upper harmonic region out like a fine sauce. We like to set it so there is a nice haze, but not a harshness to the grind. For lead
work try the PRESENCE from around 9:30 to 2:00 and notice that there will be a sweet spot where the sound is still open, but also has a
thick creamy character. The lower region often feels easier to play - as the sound can become pointed or peaky as the PRESENCE
frequencies become too dominant in the mix.
NOTE: In CHANNEL 2 the PRESENCE will seem to react different in the MODERN mode from the way it does in the RAW and VINTAGE
modes. This occurs because the MODERN mode accentuates the top end radically and since there is more of these frequencies coming
into play earlier in the preamp, the PRESENCE has more to boost in this mode. Don’t be surprised if you find yourself re-dialing the
PRESENCE drastically when you jump between these modes.
NOTE: When using the RECORD OUT jacks to interface to a mixing console be mindful that the PRESENCE can be very instrumental in
achieving a sound that is balanced and feels good to play. The setting of the PRESENCE can be critical in high gain lead sounds in
CHANNEL 2, especially if the playback monitors have bright tweeters. We have found that, in general, lower PRESENCE settings work
better for high gain sounds when running direct.
MASTER: A simple control found on most amps today, these serve to balance the playing level of the two channels. They enable the pre-
amps GAIN Control to be used in a wide range of settings, while never having to affect the listening level. On the
Rectifier Recording
Preamp
these MASTERS serve another purpose as well. When the FX LOOP is in use, these MASTER
Controls double as Effects Loop Send Level Controls.
This is not their primary function, but the setting here does affect the channels’ Send strength. We have found
the middle ranges 9:00 through 2:00 to be vary well behaved for most effects. Setting the MASTERS in this
region should make for trouble free effects interfacing when using the loop.
NOTE: You have probably noticed that there is a MIN symbol at 9:00 on the CHANNEL 2 MASTER Control. This is to indicate the minimum
level the MASTER Control should ever be set to when using the RECORD OUT in a direct recording scenario. When using the LIVE OUT
jacks connected to a stereo power amp, the associated circuitry is not involved and you may set the MASTER Control lower if you wish.
This pertains to CHANNEL 2 only because there is a huge amount of circuitry dedicated to achieving the signature Rectifier high gain
sounds in this direct domain. With the MASTER set below this point in CHANNEL 2, overdrive sounds will become thin or buzzy and lack
richness in the RECORD OUT Direct circuit. Be sure to follow this scheme when first setting up for direct recording to ensure optimum
performance from these amazing high gain modes.
PREAMP VOICING: LIVE BRIGHT / WARM RECORD
This self-explanatory switch is at the very heart of the proverbial beast. It determines whether the signal is run through the direct circuit for
radical re-shaping to accommodate consoles and monitors or - left alone with brightness intact to interface with our all-tube stereo power
amplifiers and guitar speakers. The shaping that occurs in each of the positions is critical to the performance in each
of these very different and opposing environments. This global switch demands that you dedicate the preamp to be
optimized for either a live or a direct application. You may use the preamp with both LIVE OUT and RECORD OUT
jacks feeding their respective sources, but you will have to choose which sound is more critical for your situation and
compromise on the other. May we suggest that if you are doing a live recording with a band and need the recording
to be as good as possible without overdubbing, select WARM RECORD and increase the PRESENCE on the power
amp for your live cabinets. The live environment is probably infinitely more forgiving than the direct environment and
the direct RECORD OUT sound suffers dramatically without the treatment that occurs in the WARM RECORD mode.
* Use LIVE BRIGHT anytime you are playing live through a dedicated guitar power amp and guitar speakers
* Use WARM RECORD anytime you wish to record direct using the RECORD OUT jacks connected to a console or recorder.
FRONT PANEL CONTROLS: (Continued)
BASS PRESENCE MASTER
LIVE
BRIGHT
CH2
VOICING
WARM
RECORD
TER