Engl Steve Morse Signature 100 User Manual
Steve Morse
Signature 100
3 Channel Full Tube
Guitar Amplifier
Operator´s Manual
Please, first read this manual carefully!
Tube
Tube
Amp
Amp
Technology
Technology
Table of Contents
Introduction
Features and Functionality at a Glance
Impotant remarks, some comments, Contents
page
4
5
6
:
Front Panel Features:
Tone
Channel 1: Gain 1, Bass, Middle, Treble, Volume 1, CH 1
Channel 2: Gain 2, Bass, Middle, Treble, Volume 2, CH 2
Power Amp EQ: Presence, Depth Punch
FX Loop I/II, Noise Gate
Input, Hi Gain
Channel 3: Gain 3, Bass, Lo Mid 1, Lo Mid 1/2
Channel 3: Lo Mid 2, Hi Mid 1, Hi Mid 1/2, Hi Mid 2
Channel 3: Treble, Lo Volume 3, Hi Volume 3, CH3
Power Amp section: Master A/B
Write/Copy, Amp Mute
Stand By, Power
Rear Panel Features:
Mains, Mains Fuse,
MIDI Section and Footswitch Ports
Noise Gate: Threshold Level
FX Loops I: Send, Return, and Balance
FX Loops II: Send, Return, and Balance
Pre Out, Line Out
Power Amp Output, 4, 8, 16 Ohms
Poweramp Output: speaker options
Practical Info and Tips
Handling and Care
Glossary
Status-LED: Indications
Troubleshooting
Technical Data,
Tube Map, Tube Exchange Service
Wiring of Principal Connectors
Remote Control Options
Front Panel Diagrams for Noting Settings
Configuration table for Z-9 settings
Additional information, Space for User Notes
Ground Lift Switch
Detailed Specifications and Ratings
6
7, 8
8, 9
9
9, 10
10, 11
11
12
13
13, 14
14, 15
16, 17
17
17 - 20
20
21
21
22
21
22
23, 24
25
25, 26
26, 27
27, 28
29
30
31
32
33
34
35
CAUTION! Please read and heed the following:
You'll find an ancillary pamphlet accompanying this owner's manual entitled
Instructions for the Prevention of Fire, Electrical Shock and Injury. Be sure
to read it before you plug in and power up the amp!
Technical specifications are subject to change without notice.
Note:
3
Congratulations Steve Morse Signature
from !
suits my playing style thebest!"
Guitarist extraordinaire Steve Morse and ENGL amp designer Horst Langer teamed up
to create and .
The two met up on several occasions to tweak this amp until it delivered what Steve
wants and you expect – to-die-for, . This project brought
together the unique talents of a master musician and the inspired ideas of an
innovative amp designer. Supported by amp tech / guitar tech Michael Berger, this
twosome worked out all the kinks where it counts most – in
situations on stage epic sound checks
fine-tuning real world conditions
Amp designer Horst took great pains to create something truly unique, even
developing an housed in a separate box for the amp
prototype. This unusual tool enabled Steve to work his way through a range of
EQ settings vary gain levels capture the perfect combination
each musical context
middle frequencies decisive in shaping the sound
electric guitar more midsshaping power Mid Control Matrix
of the Signature amp. Boasting tuned
individually to tweak and , the
Matrix utmost flexibility
see fit. Either of the may be combined with either of the t
knobs accessible via MIDI even greater
sonic flexibility
Steve: "It's an ENGL: clear, fat, screaming sustain. This one allows the most control
over the midrange where theelectric guitar really lives for me."
The Steve Morse Signature Head is a textbook example of . This
premium-quality tube amp wide range of sounds many subtle
variations of tonal hues
answers to all their questions about . A lifetime of
musical and sonic exploration awaits– enjoy!
Steve: "It performs like any ENGL amp with that pure, clear, high end. Additionally
this Signature Edition gives youmore midrange control than any other amp!"
What's more, the amp boastsa host of hip & practical features:
A/B Master switching
ENGL amps. The head also sports
loops programmable Amp Mute
As an alternative to operating the amp remotely via a such as the
ENGL Z-15, you can also plug in an ENGL and manipulate
key functions directly. What's more, the amp comes with a stereo jack specifically
designed to fit an or a switching system for selecting the
four channels. And the certainly match the interior's
impressive appointments. This amp's elegant and stylish look is sure to turn heads
wherever you play.
groundbreaking features painstakingly crafted, tube-driven sound
affords you the , freeing you to sculpt the midrange as you
. These different combinations are also for
and a .
on your great choice of amp, the Tube Head
Steve: "I've liked every ENGL Stack I've played through and this one
top-drawer tube tone
live performance
with the band and in before concerts. All this
under challenging paid off inbig dividends.
outboard control matrix
basic
and ever so subtly to for
- in real time and even during concerts. Steve knows that the
, more than any other, are of an
. To give guitarists everywhere who share Steve's view for
, Horst designed an unprecedented for Channel 3
four "Steve-approved" midrange knobs
specific frequency ranges bandwidths Mid Control
two Lo Mid knobs wo Hi Mid
.
teamwork at its best
offers such a , and in so
, that even the most demanding players will find authoritative
what constitutes killer tube tone
is a powerful option that has proven its merits in countless
Steve Morse Signature Amp two switchable effect
MIDI foot controller
Z-9 Custom Foot Controller
ENGL Z-4 dual footswitch
exterior's compelling visuals
4
This affords you:
1. a logical control feature array, utmost and
handling
excellent sound-shaping options greatest flexibility
2. and courtesy of the many
voicing options and special features, and 128 MIDI presets offering a bevy of
programming options;
fundamental sounds excellent tube quality Two
3. in : , , and .
Gain stages double instant-access sounds Remote
MIDI Channel Gain Lo/Hi switching
sounds. (that is, automatic frequency response adaptation to suit
the selected Gain stage and activated channel) fine-tunes two Gain stages to
give you a much wider range of sounds.
Separate Gain Volume 3-band EQ
4. and knobs in each of the three channels and a
for let you dial in distinct tones with surgical precision.
Channel 3 features the Mid Control Matrix comprising four switchable midrange
knobs for fine-tuning your fundamental tone to taste.
5. an that will give you years of
playing pleasure value to boot
;
in every channel the count of .
and affords access to a wide range of
EQ adapting
channels 1 and 2
ultra-advanced tone-generating machine
and .
ease of use remarkably intuitive
Clean Crunch Lead
Features and Functionality at a Glance
Three basic channels
-> : , and with
separate Gain and Volume knobs; Channel 3 equipped with two Volume knobs.
Two Gain variants
-> for each of the basic channels: The Hi Gain feature
lets you activate directly two different gain settings for every channel.
Three voicing sections
> : one EQ for Channel 1 and 2 featuring Bass, Middle and
-
Treble. Channel 3 sports Bass and Treble knobs and the Mid Control Matrix with
four Mid knobs - Lo Mid 1, Lo Mid 2, Hi Mid 1, and Hi Mid 2.
-> for all : tuned to match
-> and are variable, switchable effect
-> The power amp's and knobs are .
-> and ports serve to integrate the amp into a MIDI system.
-> , accessible via 16 MIDI channels.
-> The offers
-> for suppressing noise in and .
sound-shaping button
Tone
the given channels' tonal characteristics.
Two effect loops:
loops. Each effect loop may be activated for each channel.
MIDI controller #7 accesses , and in addition
MIDI-programmable
Pre Output tune your guitar
the signal to .
MIDI In Thru
128 MIDI presets
Key switching functions at the amp may be addressed using MIDI controllers.
Steve Morse Signature amp three different remote interface ports:
Serial Amp Control Port
The accepts the Custom Z-9 Footswitch (optional); use it
as a conventional switcher to select channels and two sound-shaping functions
directly. Then there's the MIDI In, which accepts the Z-9 for use as a simple MIDI
footcontroller or any other MIDI footcontroller. Finally, the amp is equipped with
a stereo jack that takes a dual footswitch, allowing you to switch the four
channels remotely.
Programmable Noise Gate
Channel 1 Channel 2 Channel 3
Channels
FX Loop I FX Loop II
A B Master accessible via MIDI
Amp Mute Amp Mute
. These choices come in handy if you wish to use
Channel 2 Channel 3
is
5
Among the hallmarks of this fine amp are painstaking workmanship and finishing as
well as rigorously tested and carefully selected quality components. You'll find
guidelines on care and maintenance of tube amps on page 25. Under the heading Tips
from the designer, you'll come across practical tips on the aforementioned features
throughout the manual. All critical information concerning the operation of this amp
is preceded by "NOTE", "CAUTION", "Read and heed" or some other eye-catching
comment. We're calling your attention to these remarks for reasons of safety or other
compelling motives, so please givethem due consideration.
Everyone at ENGL is confident that the
extraordinary versatility outstanding features Simply
plug in, play and beinspired by the tone of your new ENGLamp!
A few words of wisdom from the designer:
Though this amp head is relatively easy to handle and you're probably raring to give it
a go, I recommend that you read the owner's manual thoroughly before you power it
up. It is equipped with several safety features that require further explanation to
prevent malfunctions.
and are sure to delight you:
Steve Morse Signature tube amp's
Contents:
1. ENGL Steve Morse Signature Tube Amp Head;
2. mains cord;
3. this manual;
4. a pamphlet entitled
Electrical Shock and Injury
Instructions for the Prevention of Fire,
.
Front Panel Features
At the back of the manual, you'll find fold-out diagrams of the front and rear panels.
As you're reading the descriptions of the amp's features, you'll gain a better
understanding of the topic ofdiscussion if you unfold and refer to themas we go!
1 Tone
The voicing feature operates globally. It affects all three channels, but achieves
different results in each. In Channel 1, boosts the preamp's upper high-frequency
range, much like a Bright control. Channel 2 delivers powerful midrange response
when is deactivated; engaging it scoops these mids. In Channel 3, Tone subtly
Tone
influences the frequency range ofthe four Mid knobs.
The red LED above thisbutton lights up to indicate the Tone functionis on. This feature
can also be switched via MIDI program change, MIDI Controller #29 or the Custom Z-9
Footswitch.
A tip from the designer:
Activating the Tone button for Channel 1 yields crisp, glassier sounds. It's a great
antidote to the muddy toneof some humbucking pick-ups.
I matched to suit the three channels' Gain characteristics, which is why you get
different sounds when you activate it. Its effect is strongest in Channel 1's Lo Gain
range. As the name would indicate, the amp's gain level is lowest at this setting, so you
Tone
Tone
6
can activate to conjure sparkling clean sounds with Treble and Presence settings
as low as the 12 o'clock position. In Channel 1's Hi Gain range delivers a
rich, pleasing overtone spectrum infinest tube-approved quality.
I also matched to Channel 2's tonal structure: Deactivate it for a more
pronounced midrange; activate it – particularly in Lo Gain mode – for a sweet, riffapproved sound with a distinctivelyvintage tone!
The Tone functions in Channels 1 and 2, in combination with the two Gain choices Lo
and Hi, give you eightmarkedly different sounds, all accessible via MIDI!
The Tone button shapes Channels 2 and 3's midrange frequency. In combination with
Channel 3's four Mid knobs, the Tone button yields eight different tonal flavors
because it changes the filter stages' limiting frequencies slightly. Describing all the
many tonal variations in detail would make this an epic-length manual, so I suggest
you experiment. Try each of the Tone button's passive and active settings with
different Lo Mid and Hi Mid combinations; that is, Lo Mid1&HiMid1,LoMid2&Hi
Mid1,LoMid1&HiMid2,LoMid2&HiMid2.It's a good idea to start with the four
knobs set to the 12 o'clock position. With such a mind-boggling diversity of sonic
options at your fingertips, you're sure to find the perfect match for your preferred
musical styles and playing techniques.
Tone
Tone active
Tone
2 Gain 1
Channel 1 Gain control. This knob determines the preamp's input sensitivity for
Channel 1; use it toset the desired input level.
A tip from the designer:
The amount of distortion depends on your guitar's pickups and the Gain (19) setting.
In Channel 1, single-coil pickups may begin saturating the preamp when the knob is set
to about the two o'clock position; pickups with very high output levels (humbuckers or
active pickups) will evoke mild overdrive at even lower settings. If you want squeaky
clean tone, simply back offthe Gain knob accordingly.
If your guitarsports single-coils and you want to add some grit to your tone and bite to
your riffs, set the knob somewhere between 11 and 3 o'clock. For higher output pickups such as humbucking or active jobs, dial in settings between 9 and 1 o'clock and
activate .
Hi Gain
3 Bass
This is the preamp voicingsection's passive low-frequency EQ for .
Channel 1
4 Middle
This is the preamp voicing section's passive midrange frequency EQ for .
Channel 1
5 Treble
This is the preamp voicingsection's passive high-frequency EQ for .
A tip from the designer:
To help you get acquainted with the amp's fundamental sounds, I recommend that
you set all tone controls to or slightly higher than the center or 12 o'clock position. For
higher-gain preamp sounds, your best bet is to turn the Treble knob down to prevent
the pickups and speakers from generating feedback (a setting in the 10-to -1 o'clock
Channel 1
7
range is recommended). You will find that grittier tones generally sound better with a
touch less treble because preamp saturation makes higher frequencies figure more
prominently in the signal. Bear in mind that you also have the Tone (1) button, as well
as the power amp (14) an (15) knobs, at your disposal for
shaping the frequency range. I suggest you get into the habit of dialing in lower Treble
settings. That way, you can program various MIDI presets with the Tone option
remotely and have plenty oftonal variations at your fingertips.
Presence Depth Punch
6 Volume 1
Determines the level for . Use thisknob to adjust the volumeof and
dial in the desired balance in comparison with the other channels' levels. Because this
knob is located pre effects loop, it also determines the effects send level for .
The green LED to the right of the knob lights up to indicate is on.
Channel 1 Channel 1
Channel 1
Channel 1
7CH1
Push this button to activate preamp Channel 1directly(inreciprocationwith ,
Channel 3
and ). The green LED to the right of the Channel 1 Volume knob (6) lights up
to indicate is active. may also be activated via MIDI program
change, the ENGLCustomZ-9Footswitch,or a dual footswitch.
Channel 1 Channel 1
Channel 2
8 Gain 2
Gain control for . This knob determines the input sensitivity in Channel 2
mode; use it to dialin the desired amountof preamp distortion.
A tip from the designer:
Single-coil pickups will evoke mildly overdriven sounds at settings somewhere
between 9 and 2 o'clock. Try settings between 8 and 12 o'clock for pickups with highoutput humbuckers or active pickups. Bear in mind the Hi Gain function. You can
activate it via an ENGL Custom Z-9 Footswitch or a preprogrammed MIDI preset to get
an even bigger, beefier crunchtone on the fly.
CAUTION:
feedback. Avoid feedback squeals; they can lead to hearing loss and damage
speakers! At higher volumes, back off the Gain, Treble and Presence levels in order to
prevent unchecked feedback!
Channel 2
Extremely high gain and volume levels in Channel 2 can produce powerful
9 Bass
This is the preamp voicingsection's passive low-frequency EQfor .
Channel 2
10 Middle
This is the preamp voicing section's passive midrange frequency EQ for .
Channel 2
11 Treble
This is the preamp voicingsection's passive high-frequency EQfor .
A tip from the designer:
To help you get acquainted with the amp's fundamental sounds, I recommend that
you set all tone controls to or slightly higher than the center or 12 o'clock position. For
higher-gain sounds in , your best bet is to turn the Treble knob down to
Channel 2
Channel 2
8
prevent the pickups and speakers from generating feedback (a setting in the 10-to -1
o'clock range is recommended).
Each channel is equipped with adedicated EQ so you cantweak its sound separately to
suit your taste and the given sonic scenario. Bear in mind that you also have the Tone
(1) button, as well as the two power amp Presence (14) and Depth Punch (15) knobs,
at your disposal for shaping the frequency range. Though this passive voicing section's
controls range is narrower than that of a comparable active system, its EQ curve is
tweaked specifically for its designatedpurpose, and will giveyou satisfying results.
12Volume2
Determines the level for . Use thisknob to adjust the volumeof and
dial in the desired balance in comparison with the other channels' levels. Because this
knob is located pre effects loop, it also determines the effects send level for .
TheyellowLEDtotherightoftheknoblightsuptoindicate is on.
Channel 2 Channel 2
Channel 2
Channel2
13 CH 2
Press this button to activate preamp directly (in reciprocation with ,
and ). The yellow LED to the right of the Channel 2 Volume knob (12) lights up
Channel 3
to indicate is active. may also be activated via MIDI program
change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.
Channel 2 Channel 2
Channel 2 Chanel 1
14 Presence
Power amp Presence knob. This knob determines the power amp's high frequency
response.
15 Depth Punch
This control shapes the lo frequency response in the power amp stage and affects all
channels.
16 FX LOOP I/II
This button switches to and fro between and . The red LED above
the button lights up to indicate is on. You can also select loops via MIDI
program change, or the ENGL Custom Z-9Footswitch.
A tip from the designer:
Both effect loops can be configured in series (that is, 100% processed signal when
Balance wet
Balance dry wet
balance when is set to ). You can connect an effect device to each of the
effect loops and switch from one effect device to the other using the FX Loop I/II
function, or employ just one of the two effect loops (for example, FX II Loop) and use
FX Loop I/II FX Loop I
its knob to the position). Note that in the signal path, and
Master B FX Loop Return
is set to ) or in parallel (1% to 99% mix of preamp and effect signal when
is set somewhere between and ), or be bypassed altogether (0 % wet
Balance dry Master A
controls are post and pre the power amp.
MIDI Controller #30
Balance dry
to activate the effect. In the latter case, serves as a bypass (set
FX Loop II
FX Loop I FX Loop II
9
17 Noise Gate
Press this button to activate an onboard and suppress excess noise in
channel 2 and 3. Control the using the Level Threshold (48) knob on the
back of the amp. The LED above the button lights up to indicate the is
activated. This feature can also be switched via MIDI program change,
#24
or the ENGL Custom Z-9Footswitch.
IMPORTANT note; please read and heed
when the is activated, a high-gain channel is selected, and the volume
exceeds the Threshold knob setting. At very high volume and gain settings, this may
generate instant feedback, particularly if your guitar is facing the speakers. Rather
than musical and controlled, this is the shrill, unpleasant and potentially harmful
variety of feedback squealing that sends your audience and fellow musicians packing.
Though the amp is not more susceptible to feedback when the is activated,
the fact that it suppresses extraneous noise means you can't hear those telltale signs
that feedback is swelling and consequently can't take measures to suppress it. For this
reason, make an extra effort to be careful when the is activated: Before
you approach the amp and speaker cabinet with your guitar in hand, turn the guitar's
volume knob to the far left position (to 0 so that no signal is audible) to prevent the
pickups and speakers from interacting!
A tip from the designer:
Noise is a definite no-no in many situations. For example, studio etiquette demands
that you keep a lid on extraneous noise during short breaks. It's in the nature of highgain rigs to generate undesirable peripheral noise in overdriven channels. This is
attributable to the physical properties of an amp's constituent components, in
particular its active components. That'sright; those cherished tubesare the culprits.
The Noise Gate is a tool that lets you silence this noise during breaks by way of signal
mute circuit. Note that electric guitars pick up interference signals, and these are
amplified tremendously at high gain levels in Hi Gain mode. The most common source
of noise is 50 or 60 hertz mains hum, particularly when the guitar is positioned near
transformers and power units. Because in worst-case scenarios this humming can
attain extremely high levels, the Noise Gate can hardly distinguish between the
musical signal and noise. This makes it hard to find the right Threshold setting. It is
entirely possible for this humming and other noiseto rise to a level that deactivatesthe
Noise Gate
transformers and power units asspace allows.
Noise Gate
and therefore becomes audible. My advice is to stay as far away from
Noise Gate
Noise Gate
Noise Gate
MIDI Controller
Noise Gate
: The may open up inadvertently
Noise Gate
Noise Gate
18 Input
¼" unbalanced input jack. Plugyour guitar in hereusing a shieldedcord.
A tip from the designer:
Depending on the type of cord and its shielding, you may occasionally encounter
interference from sources such as radio stations or powerful magnetic fields. When
this occurs, try connecting your guitar to the amp using different cords. What's more,
to minimize signal degradation due to high-frequency loss, use the shortest cords
feasible (as a rule, the shorter the cord, the less susceptible it is to high-frequency
attenuation).
10
19 Hi Gain
Pressing this button ups input sensitivity, thereby increasing the amplification factor
and the amount of distortion in all three preamp channels , and . The LED
above this button lights up to indicate is active. This feature can also be
switched via MIDI program change, or Custom Z-9 Footswitch.
A tip from the designer:
Obviously, the difference between Lo and High Gain is the latter gives you more
preamp juice. But I also tuned frequencyresponse to suiteach channel's gainstructure,
which is a long-winded way of saying the three channels give you six great sonic
choices. Depending on the selected channel and Gain knob setting, the spectrum
ranges from pristine clean to ultra saturated lead tone, rich in overtones and gain
reserves for screaming solos and crashing power chords. Whatever tones your style,
genre and whims may demand, you'll find it between these two extremes. The options
are too numerous to mention, so switch back and forth between Lo and High Gain in
each of the three channels to get to know their tonal characteristics and make the
most of these eight fundamentalsounds.
Hi Gain
MIDI Controller #22
CH1 CH2 CH3
20 Gain 3
Gain control for Channel 3. This knob determines Channel 3's input sensitivity; use it to
dial in the desired amountof saturation level.
A tip from the designer:
Depending on Gain knob and Gain option (19) settings, Channel 3's gain ranges from
middling to extreme, which translates to big power chords and mean leads. Beyond
that, Channel 3's hip new Mid Control Matrix, with its four Mid knobs and tremendous
leeway in sound-sculpting, gives you even more options. In combination with the two
Lo and Hi Gain settings, you can tweak your settings to suit diverse styles and
conveniently call up the various sounds on the fly via MIDI. With all this, Channel 3
affords you remarkable freedom forshaping sound creatively andconveniently.
CAUTION:
feedback. Avoid feedback squeals; they can lead to hearing loss and damage
speakers! At higher volumes, back off the Gain, Treble and Presence levels in order to
prevent unchecked feedback!
Extremely high gain and volume levels in Channel 3 can produce powerful
21 Bass
This is the preamp voicingsection's passive low-frequency EQfor .
Channel 3
22 Lo Mid 1
Mid knob #1 in preamp Channel 3's passive voicing section shapes the low mids. The
Tone button (1) setting subtly influences the Lo Mid 1 circuit's frequency range and
bandwidth.
Lo Mid 1/2
23
This control switches between thetwo Mid knobs LoMid 1 (22)and Lo Mid 2(24).
The LED to the rightof each Lo Midknob lights upto indicate this knobis activated.
The Lo Mid 1/2 switching function can also be switched via MIDI program change,
MIDI Controller #23, or theENGL Z-9 Custom Footswitch.
11
24 Lo Mid 2
Mid knob #2 in preamp Channel 3's passive voicing section shapes the low mids. The
Tone button (1) setting subtly influences the Low Mid 2 circuit's frequency range and
bandwidth.
Tip from the designer:
I decided to assign different frequency ranges and bandwidths to the two Lo Mid 1
and Lo Mid 2 knobsto give you thegreatest possible latitudefor shaping sounds asyou
see fit. In practice, this means identical settings on the two knobs yield different tonal
results. If you like scooped mids, try dialing in lower settings for Channel 3's Lo Mid 1
knob. Set to lower values, this voicing control cuts big slices of mids from the sonic pie.
Conversely, if you activate Lo Mid 2, you will boost the low mids markedly, which can
have a huge effect across the full frequency spectrum of some sounds. These two
knobs' different sound-shaping propertiesand the Tonebutton's effect onvoicing give
you four different ways ofvoicing the low midson the flyusing MIDI commands.
25 Hi Mid 1
Mid knob #1 in preamp Channel 3's passive voicing section shapes the high mids. The
Tone button (1) setting subtly influences the Hi Mid 1 circuit's frequency range and
bandwidth.
26
Hi Mid 1/2
This control switches between thetwo Mid knobs HiMid 1 (25)and Hi Mid 2(26).
The LED to the rightof each Hi Midknob lights upto indicate this knobis activated.
The Hi Mid 1/2 switching function can also be switched via MIDI program change,
MIDI Controller #27, or theENGL Z-9 Custom Footswitch.
27 Hi Mid 2
Mid knob #2 in preamp Channel 3's passive voicing section shapes the high mids. The
Tone button (1) setting subtly influences the Hi Mid 2 circuit's frequency range and
bandwidth.
Tip from the designer:
Again, in the interests of affording you greater freedom in sound-sculpting, I chose to
assign different frequency ranges and bandwidths to the two Hi Mid 1 and Hi Mid 2
knobs. You will find thatthe same knob settingsconjure different tones.
The entire voicing section is based on passive circuitry, so its controls influence one
another, the four Mid knobs especially. This is desirable because it delivers such
excellent tonal results. Here's an example: Let's say Lo Mid 1 is activated and dialed to a
relatively high setting. Now if you twist the Hi Mid 1 knob, its influence on your tone
will be subtle. However, if the Lo Mid setting dips below 11 o'clock, the effect of
twisting the Hi Mid 1 knob will be far more pronounced. Hi Mid 2's midrange voicing is
tighter and more aggressive, adding a sharper edge to your sound. These two knobs'
different sound-shaping properties and the Tone button's effect on voicing give you
four different ways of voicingthe high mids onthe fly usingMIDI commands.
Channel 3's Mid Control Matrix with its four Mid knobs and the global Tone button
add up to give you eight different sound-shaping setups that you can access directly
and on the fly via MIDI. Factor Channel 3's two Lo and Hi Gain stages into the sonic
12
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