Mesa Rosette 300 Two:Eight Owner's Manual
Owner’s Manual
Greetings from the Home of Tone®
…You, smart player and intuitive human, have put your trust in us to be your amplier
company. is is something that we do not take lightly. By choosing this instrument to be
part of your musical voice, you have become part of the MESA® family… WELCOME!
Our goal is to never let you down. Your reward is that you are the new owner of an amp,
bred of ne heritage, benetting from the many pioneering and patented MESA circuits
as well as fresh cutting edge research and development eorts, leading to this new and
exciting model. We feel confident that this amp will inspire many hours of musical
satisfaction and lasting enjoyment. It was built with you in mind, by players who know
the value of a ne musical instrument and the commitment it takes to make great music.
e same commitment to quality, value and support we make to you… our new friend.
Table of Contents
SPECIFICATIONS
INTRODUCTION / OVERVIEW / INSTANT GRATIFICATION / HELPFUL HINTS _____________________________ 1-6
FRONT PANEL
CHANNEL 1 INPUT SELECT _______________________________________________________________________ 6
MICROPHONE INPUT JACK _______________________________________________________________________ 6
PHANTOM POWER LED __________________________________________________________________________ 6
PICKUP INPUT JACK ___________________________________________________________________________ 6-7
MIC / PICKUP SWITCH ___________________________________________________________________________ 7
MUTE SWITCHES _______________________________________________________________________________ 7
PHASE SWITCHES ______________________________________________________________________________ 7
HI-PASS FILTERS _______________________________________________________________________________ 7
GAIN CONTROLS & CLIP LEDS ____________________________________________________________________ 7
FX SENDS _____________________________________________________________________________________ 7-8
BASS CONTROLS _______________________________________________________________________________ 8
LOW MID & HIGH MID CONTROLS _________________________________________________________________ 8
TREBLE CONTROLS _____________________________________________________________________________ 9
FX MASTER ____________________________________________________________________________________ 9
MASTER _______________________________________________________________________________________ 9
EFFECTS CONTROLS (On-Board Processing Suite) ___________________________________________________ 9
REVERB + CHORUS ______________________________________________________________________ 9-10
ROOM REVERB ___________________________________________________________________________ 10
HALL REVERB ___________________________________________________________________________ 10
PARAMETER CONTROLS ________________________________________________________________________ 10
LAYERED CHORUS + REVERB PROGRAM ____________________________________________________ 10
ROOM & HALL REVERB PROGRAMS ______________________________________________________ 10-11
EFFECTS BYPASS (CANCEL) LED _________________________________________________________________11
POWER/PROTECT/LIMIT LEDS ____________________________________________________________________11
REAR PANEL
POWER SWITCH ________________________________________________________________________________11
AC RECEPTACLE STANDARD IEC TYPE _________________________________________________________ 11-12
SPEAKER OUTPUT _____________________________________________________________________________ 12
HEADPHONE OUTPUT __________________________________________________________________________ 12
MUTE FOOTSWITCH ____________________________________________________________________________ 12
FX BYPASS FOOTSWITCH _______________________________________________________________________ 13
FX LOOP ______________________________________________________________________________________ 13
AUX INPUT ____________________________________________________________________________________ 13
DIRECT OUTPUTS (DI OUTS) ___________________________________________________________________ 13-14
DIRECT OUTPUT SOURCE _______________________________________________________________________ 14
DIRECT OUTPUT LEVEL _________________________________________________________________________ 14
DI OUTPUT PIN 1 LEFT __________________________________________________________________________ 14
TROUBLESHOOTING _________________________________________________________________________ 16-17
DISCUSSION ABOUT AMPS & CLASS D FROM THE DESIGN TEAM ___________________________________ 18-19
USER SETTINGS _______________________________________________________________________________ 20
TWIST-LIFT ADJUSTMENT _______________________________________________________________________ 21
SPECIFICATIONS _______________________________________________________________________________ 22
BLOCK DIAGRAM ______________________________________________________________________________ 23
PARTS DIAGRAM ______________________________________________________________________________ 24
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your
outlet, consult an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally,
or has been dropped.
To insure proper ventilation always make sure there is at minimum four inches (101.6mm) of space behind the rear of the apparatus. The ventilation should
not be impeded by covering the ventilation openings with items, such as newspapers, tablecloths, curtains, etc. Do not impede ventilation by placing objects
on top of the apparatus which extend past the rear edge of its cabinet.
When Rack Mounting this unit proper ventilation space must be maintained. Do Not cover or block Front and Rear and allow at least 2” of open “breathing”
space on both sides of the unit.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
The AC plug is the mains disconnect. The plug should remain accessible after installation. The “OFF” position of the power switch does not disconnect all poles.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Always make sure proper load is connected before operating the amplifier. Failure to do so could pose a shock hazard and may result in damage
to the amplifier.
Do not expose amplifier to direct sunlight or extremely high temperatures.
Always insure the amplifier is properly grounded. Always unplug AC power cord before performing ANY service to the amplifier, including but not limited to
changing the fuse. Use only same type and rating when replacing fuse.
Keep amplifier away from children.
To avoid damaging your speakers and other playback equipment, turn off the power of all related equipment before making the connections.
Do not use excessive force when handling buttons, switches and controls. Do not use solvents such as benzene or paint thinner to clean the unit.
Always connect to an AC power supply that meets the power supply specifications listed on the rear of the unit. Export models: always insure unit is wired for
proper voltage. Make certain grounding conforms with local standards.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE!
Your MESA/Boogie® Amplier is a professional instrument. Please treat it with respect and operate it properly.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
Operating Instructions
Introduction:
Few can deny the intrinsic beauty of the Acoustic Instrument, especially the Acoustic Guitar. The visual beauty of the Tonewoods,
the curvaceous shapes and elegant lines of body styles, and the delicate artwork of inlay all coalesce in harmonious interplay with
tensioned strings to produce musical promise.
So when we at MESA® turned our eyes and ears toward amplifying these sounds, one thing more than any other stood out as an
objective; Do No Harm. In its sincerity and perfection, there is no reason to “enhance” the sound of the acoustic guitar, or any other
acoustic instrument for that matter, but rather… just reproduce it.
Unlike electric guitar amplifiers that offer a myriad of enhancements and often complete re-voicings, the acoustic instrument has all
the complex harmonic content it could ever need, on-board. All that is required is the accurate reproduction of that beauty.
While staying true to the concept of Do No Harm, few products or companies seem to share this perspective for Acoustic Amplification.
And when it comes to the electronic and mechanical components and design needed to fulfill that order, it’s easier said than done.
It requires a commitment to using the absolute best components and circuit design dedicated to uncompromising accuracy, purity of
sound and the lowest possible extraneous noise.
The ROSETTE® line is a dedicated acoustic instrument platform designed not just for acoustic guitars, but also for mandolin, ukulele,
violin/fiddle, dulcimer, cello, upright bass and other uniquely acoustic instruments.
Our reverence and appreciation for acoustic instruments guides the designs of the Rosette Series products. Our commitment to
produce innovative, reliable and inspiring musical instrument amplification for nearly 50 years, now… Finally includes the incredible
world of acoustic instruments and acoustic guitar. Introducing the Rosette 2x8 combo and the Rosette DI Preamp/Pedal.
PAGE 1
FRONT VIEW: 300 / TWO:EIGHT ROSETTE™
PHANTOM
MIC INPUT
MIC PICKUP
PICKUP INPUT
PICKUP INPUT
R
OSETTE
MUTE
CH 1
PLAY
MIC / PICKUP
MUTE CLIP
CH 2
PLAY
PICKUP PHASE
CLIP OUT
IN
PHASE
OUT
IN
MIC / PICKUP
GAIN
GAIN
FX SEND
HI-PASS FILTER
40 HZ 200 HZ
40 HZ 200 HZ
HI-PASS FILTERFX SENDPICKUP
REAR VIEW: 300 / TWO:EIGHT ROSETTE™
POWER
OFF ON
h
MAX AVG PWR CONSUMPTION 250W
MAINS FUSE: INTERNAL T4A/250V
INPUT
100V-240VAC
POWER
~50/60HZ
AMPLIFIER
44YV
SPEAKER
OUTPUT
(4 OHM MIN LOAD)
RATED
150 WATTS/8Ω
POWER
300 WATTS/4Ω
ROSETTE® ACOUSTIC AMPLIFIER
MADE IN PETALUMA, CA WITH THE WORLD’S FINEST MATERIALS
HEAD
PHONES
8-32 OHMS CH. MUTE / TRS
Overview: FrOnt Panel
BASS GAIN FREQ FREQ
BASS GAIN FREQ GAIN FREQ
MUTE
FX BYPASS
FTSW
(TIP=CH 1) (RING=CH 2)
LOW MID HIGH MID
150 HZ 1800 HZ
150 HZ 1800 HZ
Do not expose to rain, moisture
or thieves.
FTSWFXRETURNFXSEND
MONO
EXT. FX IN
(TIP=BYPASS)
(LINE LEVEL)
EXT. FX OUT
(LINE LEVEL)
GAIN
AUX
INPUT
LINE LEVEL
(MONO / STEREO)
300 HZ 5000 HZ
300 HZ 5000 HZ
HIGH MID LOW MID
LEVEL
LINE
MIC
CHANNEL 1+2
TREBLE
TREBLE
PIN 1
LIFT
GROUND
(POST EQ/FX)
REVERB+CHORUS
ROOM REVERB
HALL REVERB
DIRECT OUTPUT
PHANTOM POWER
PROTECTED
LEVEL
SOURCE
LINE
POST EQ
MIC
PRE EQ
CHANNEL 2
LIMIT
PROTECT
PARAM 1 PARAM 2 PARAM 3
FX
BYPASS
FX MASTER MASTER
300 / TWO:EIGHT
PIN 1
LIFT
GROUND
SOURCE
POST EQ
PRE EQ
LEVEL
LINE
MIC
CHANNEL 1
PIN 1
LIFT
GROUND
POWER
ACCURACY FIRST, EMBELLISHMENT WHEN DESIRED
Our goal with the Rosette Series was clear from the start and our commitment to excellence has guided us to what we feel is the
FIRST ACCURATE Acoustic Instrument Combo Amplifier and DI Preamp/Pedal.
In Rosette, we opted for architecture straight from high-end recording console designs. We developed Input stages that were not
the typical, compromised dual-purpose circuits fed by universal XLR+1/4” combo jacks found on many acoustic amplifiers in the
marketplace. Instead, we chose dedicated, time-tested designs, proven over decades of great recordings, to deliver the uncompromised, accurate truth.
In the MIC Input of Channel 1, a rugged, professional XLR jack uses a dual discrete transistor pair for the trans-conductance Input
stage. Because microphones are low impedance transducers, the noise current specification must be at the top of the design list for
the best noise performance and Tone.
Channels 1 and 2 feature duplicate ¼” mono PICKUP Inputs with input stage circuitry optimized for the impedance requirements of
today’s (and yesterday’s) popular acoustic guitar pickups. A current source biased FET input stage was selected for this application
as high impedance transducers require the noise voltage specification be the first consideration for optimal performance and Tone.
This purpose-built, no-compromise approach to the connection of your instrument pickup to the Input stage of the amp clearly states
our mission with the Rosette Series. While it may look different from the crowded field of less sophisticated offerings in the marketplace,
it is by far the proper and professional way to get the absolute best from the all-important instrument/pickup/amp input connection.
Tone begins, and can end, at the Input Stage. We’re not about to let the latter happen on our watch.
Note that the lower Channel (2) may be used with a Microphone by using a standard Line Matching Transformer available at most
Music Stores for a nominal charge. While Input circuitry is not quite as optimized as it is in Channel 1 for this application, it is still
superior to the IC based Input Stages found in many other brand’s acoustic offerings. And the EQ Section being what it is in terms
of quality and comprehensive control means that Channel 2 delivers an excellent result in times when you need this added flexibility
regarding Inputs.
PAGE 2
MUTE and PHASE switches accompany each channel’s Input features. Channel 1’s Input options are selected by the MIC/LINE
switch, which determines the Input architecture.
LEDs provide clear indication of the status of MUTE and PHASE selections. A RED pair indicates Channel MUTE, while an additional
RED LED below the MIC Input indicates the default Phantom Power ON status (harmless to non-phantom-powered mics). The BLUE
LEDs being ON indicate the Phase being 180 Degrees flipped in relation to the INPUT signal.
Next up on the Front Panel are the GAIN and FX SEND level controls. GAIN adjusts the input gain level for each channel and the FX
SEND determines the amount of that signal to be routed to the internal Effects Processor or the SEND of the EXTERNAL EFFECTS
LOOP.
The HIGH PASS Filter can reduce or eliminate low-end feedback and tone issues before they can arise or be exacerbated with
unintentional overuse of the EQ section. HIGH PASS allows you to dial out the over-resonant, tubby frequencies that often create
unwanted feedback, especially in bigger, more resonant guitars and acoustic instruments.
The fully professional 4-Band EQ Section provides the same degree of shaping power found in upscale recording or live sound consoles and together with the optimized INPUT circuitry, creates two impressive Channel Strips for amplifying acoustic instruments. The
separate LOW and HIGH semi-parametric MID Bands allow specific control over a wide range of frequencies and can easily overlap
if needed. This professional level Tone and Frequency control places the Rosette in a category beyond standard acoustic amps and
in with the best of high-end Pro Audio gear.
Mini LED Indicators in the upper right corner of the Front Panel alert you to: 1) clipping the power section and the LIMIT circuit is
being activated (YELLOW). 2) the amp overheating due to excessive Output or settings for prolonged periods (RED). 3) the amp’s
Pilot light indicating the AC MAINS Power has been switched on (BLUE)..
The on-board Effects Suite includes three effects choices: ROOM REVERB, HALL REVERB and REVERB AND CHORUS. These
effects programs create many ways to add spatial enhancement to the sound of your instrument while the PARAMETER Controls
provide unique adjustment of specific effect functions in each of the three modes. The FX MASTER control determines the overall
mix of the effects to the dry signal achieve the desired dry/wet blend.
Finally, The MASTER control at the far right bottom of the Front Panel provides volume adjustment of the amplifier and controls the
overall output from the 300 watt power section that drives the Rosette’s two 8” custom neodymium speakers.
Overview: rear Panel
From Left we first see the AC MAINS power switch and the industry standard IEC AC MAINS removable Power Cord Socket. Never
Alter the Power Cord in any way to reduce the risk of electrical shock. Be sure the Power Cable is seated firmly and completely in
its receptacle.
The Rosette 2x8 Combo utilizes a single SPEAKER OUTPUT to ensure the maximum 300 watt output power is provided via the
optimized internal 4 Ohm speaker load..
A HEADPHONE Output is provided for personal monitoring, with or without the combo speakers connected. If you wish to play with
headphones ONLY (not using the Rosette’s internal speakers), simply unplug the Speaker Cord from the SPEAKER OUTPUT jack.
Operating the Rosette’s Class D amplifier without its speakers connected is 100% safe and allows you to play through and/or record
silently with the amp with headphones (or the amp’s DI Outputs – or both). The HEADPHONE OUTPUT will efficiently drive any
headphones with an impedance between 8 to 32 Ohms. We suggest researching and auditioning headphones before you buy as
the performance can vary substantially between manufacturers and impedances.
A Channel MUTE FTSW Jack is provided to allow remotely controlled muting of the Channels. The MUTE FTSW Input is fitted with
a stereo (Tip / Ring / Sleeve) jack with the Tip controlling Channel 1 MUTE and the Ring controlling Channel 2 MUTE. MESA sells
PAGE 3
Rosette specific Mute footswitches separately through our Authorized Dealers and Distributors, our Parts & Accessories Online Store,
or by contacting our Customer Service department.
The FX BYPASS FTSW Jack accepts a mono ¼” cable and Tip to Ground ON/OFF footswitch to bypass the internal Effects and/
or any external effects that may be inserted in the FX Loop. MESA sells FX bypass footswitches separately through our Authorized
Dealers and Distributors, our Parts & Accessories Online Store, or by contacting our Customer Service department.
Next up are the FX LOOP SEND & RETURN Jacks. These mono jacks are provided as a Parallel Loop interface for connecting
external effects processors and pedal effects between the amp’s preamp and power section. Both the SEND (Output) and RETURN
(Input) are optimized for a Line Level signal, so external processors should have their Input and Output configured for the same signal
level whenever possible. The FX SEND level is controlled by each channel’s Front Panel FX SEND control. The FX SEND can also
be used as an additional ¼” Line Level Output when nothing is connected to the FX RETURN Jack.
The AUX INPUT is provided to allow connection of external music sources through your Rosette amplifier such as a CD player, mobile
device, drum machine, and computers or DAWs used for audio playback and accompaniment. Use the device’s volume control to
achieve its desired listening level in balance with your instrument as all controls except the MASTER are inactive in this signal path.
Finally, the Rosette features a comprehensive, studio-quality DIRECT OUTPUT Section. Channel 1 & 2 have dedicated XLR Outputs
with PRE/POST EQ, MIC or LINE LEVEL and GROUND or PIN 1 LIFT switches. Additionally, a third XLR Jack delivers a properly
summed output of both channels preset to POST EQ and switchable between MIC & LINE level. Beyond its thorough features and
thoughtful layout, it’s the great TONE and exceptional low noise of Rosette’s DI Outputs that sets it apart from the competition. For
live and recording, Monitor, Front of House and Recording engineers will thank you when they hear the clean, quiet and accurate
signal the Rosette DI delivers. This comprehensive, Toneful DI is nearly worth the price of admission alone, especially as the signal
that feeds your acoustic voice to live venues and recording applications with something as important as your music.
INSTANT GRATIFICATION
The ROSETTE® is a professional and comprehensive amplifier for acoustic instruments. Once
dialed in to your preferred settings, the amplifier is essentially ‘set and forget’ while still allowing for a wide range of tones and adjustments for different instruments, applications and venues. Start with the MUTE SWITCH down (mute off), the PHASE SWITCH down
(in PHASE), the FX SEND off (7:00), and the four EQUALIZER controls (BASS, LOW MID GAIN, HIGH MID GAIN and TREBLE) in
the “flat” (12:00) position (LOW & HIGH MID FREQUENCY control positions won’t matter with the MID GAIN set flat). Choose the
channel you want to use and set the GAIN control no higher than 10:00 and the MASTER VOLUME control between 11:00-1:00
(11:00 if playing quietly and 1:00 if louder or for live performance, etc.). Increase the GAIN control until you feel a nice balance is
achieved between headroom and fullness, usually around 11:00 – 1:00 depending on your instrument’s output level. Increase the
MASTER if needed to reach the desired playing volume. Higher GAIN settings may increase the potential for feedback or unwanted
clipping and distortion.
If you want to use effects, select an effects program from the three choices, set the EFFECTS MASTER control to the 1:00 position
and gradually rotate the FX SEND control clockwise on the channel you’ve plugged into to add effects to the overall sound. Now, it’s
just a matter of setting the EQ to taste and fine tuning the EFFECTS PARAMETER controls.
SUBTRACT FOR TONE! SETTING THE SWEEPABLE MIDS
Recording and live sound engineers have long known that removing what you don’t want works far better than boosting what you do
want to achieve a balanced sound. This method reduces noise floor, avoids clipping and produces better overall results than trying
to boost frequencies. Don’t frustrate yourself by ignoring this time-proven Golden Rule of Audio and you will arrive at great Tone
quickly and easily.
LOW MID BAND: With the BASS set at 10:00 and the TREBLE set at 11:00, set both LOW and HIGH MID Controls all at NOON.
Increase the LOW MID GAIN to 2:00 and sweep the LOW MID FREQUENCY back and forth from 12:00 until you hear a frequency
you do not like and stop there. Then, reduce the LOW MID GAIN until you reach a desired blend, keeping in mind you don’t want to
remove too much of that frequency or the sound may be unnatural.
PAGE 4
HIGH MID BAND: Repeat the same procedure with the HIGH MID Control; Increase the HIGH MID GAIN to 2:00, sweep the HIGH
MID FREQUENCY back and forth from 12:00 until you hear a frequency you do not like and stop there. Then, reduce the HIGH MID
GAIN until you reach a desired blend, keeping in mind not to remove too much of that frequency or the sound may be unnatural.
Usually a MID GAIN setting of 11:00, sometimes as low as 10:00, should remove enough of the unwanted frequencies.
HELPFUL HINTS
Once you get your basic tone dialed in, flip the PHASE Switch in and out to sample the difference the phase
relation can make. Sometimes the PHASE REVERSE position will sound better, or may assist in eliminating feedback in certain
environments, pickup configurations, or mixes. With the PHASE switch, there isn’t a right selection, just the one that sounds best.
Always use the MUTE switch to connect or disconnect cables, change instruments and when getting up and walking away from
your instrument while still connected and with the amplifier on. Instruments left near the amplifier (when ON) may have a tendency
to feedback. The MUTE function can also be accessed remotely via a standard latching footswitch connected to the MUTE FTSW
jack located on the rear panel. The front panel MUTE toggle switches must be in the down (PLAY) position for the remote footswitch
functions to work properly.
THIS IS NOT AN AMP AIMED AT SOLID ELECTRIC INSTRUMENTS, BUT RATHER ONE OPTIMIZED FOR ACOUSTIC INSTRUMENTS WITH ON-BOARD MICS and ACOUSTIC OPTIMIZED PICKUPS. To address or minimize feedback issues, position yourself
with the Rosette facing off axis from the instrument (not pointing directly at you/the instrument). It’s also helpful to be at least several
feet from the amplifier, with the speakers never pointing directly at the guitar or instrument. This scenario will dramatically reduce
the potential for feedback and/or sympathetic interference and also allows you to hear the sound more realistically. It is easiest to
have an engineer or friend adjust the controls while you play, otherwise you may need to play, stop, walk over and adjust, play, stop,
walk over and adjust, etc. The best sound, loudest output and the least feedback potential will be achieved with the player being a
reasonable distance from the amplifier.
Speaking of feedback, the Rosette features a number of options for addressing feedback issues. The PHASE switch is always the
first quick option while the HI-PASS filter is the second quick option. HI-PASS controls feedback by taming excess low frequency
resonances and if your instrument is feeding back at a lower pitch, increasing the HI-PASS filter stands a very good chance of removing the offending feedback while maintaining the fullest possible sound. Setting the HI-PASS too high will remove body and warmth
from the sound of your instrument and more isn’t necessarily better. Use only as much as you need to control ‘boomy’ bass response
and low frequency feedback issues.
Finally, a more powerful 4-BAND EQ with two sweepable MID controls has been included rather than the more typical 3-BAND fixed
frequency EQ with a Notch Filter. A sweepable mid band operated in cut mode (subtracting unwanted frequencies) will do much the
same thing as a Notch Filter except that you are not limited to a fixed notch depth. In the Rosette’s MID GAIN bands, the notch depth
is variable from 0dB to over 12dB, meaning that you only have to use just enough to get the job done and no more. Using one band
to address a specific range of feedback frequencies will generally leave the other sweepable MID Band available for additional EQ.
If feedback isn’t an issue, then you have both bands available for your EQ needs.
The simple trick that the best sound engineers in recording and live performance use to make their instruments and mixes sound great
with sweepable controls will also work for dialing out feedback. When searching for a frequency that is causing feedback with your
instrument (or in your mix or playing environment), boosting the control GAIN slightly (1:00-2:00) of the frequency band you suspect
is the issue and then sweeping the frequency control will often reveal the unwanted frequency by simply making it that frequency
REALLY stand out! Once found, reduce that frequency’s GAIN control and, voila… feedback issue solved! As a nice side benefit,
you’ll almost always find that the overall tone sounds much better once you find and cut the offending frequency. Experimentation
and practice is key with this approach and it can be a musician’s best kept secret to getting great Tone in many different musical
applications – live performance and recording, especially.
Avoid facing the instrument, especially a guitar’s sound hole, directly at or into the amplifier’s Cabinet/Speaker Enclosure. Two unwanted
things can occur; feedback, similar to how a microphone pointed at a monitor responds… And also, the creation of a sympathetic
loop (another form of feedback) where the most prominent resonant frequencies of your instrument are amplified by the amp, and
picked back up by the instrument and it’s pickups, perpetuating that resonant frequency. This is not only the basis of feedback; it also
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