Mesa Boogie Rectifier Rec. Pre User Manual
M
Owner's Manual
ESA
B
OOGIE
Greetings from the Home of Tone
Congratulations on your choice of the Rectifier Pre as your Guitar amplifier and
welcome to the MESA/Boogie family! As a discriminating player you probably know
that you have purchased the most comprehensive instrument for amplifying Guitar
that is available. What you might not realize is that this entitles you to all the
experience, resources and commitment our twenty-five years of service to musicians
world wide has to offer. Our responsibility is to help you sound great! So, if at any
time you feel you need help or direction, we are here for you...a phone call away.
RECTIFIER RECORDING PREAMPLIFIER
Precautions 0
Overview 1/2
Helpful Hints: RECORDING 2/3
Helpful Hints: LIVE 3
FRONT PANEL:
Instrument Input & Footswitch Jacks 4
CHANNEL MODES: Clean - Fat - Brit 4
CHANNEL MODES: Raw - Vintage - Modern 5
CONTROLS:
GAIN 5/6
CHANNEL 1: Bright & Pad Switches 6
TREBLE 7
MID 7
BASS 7
PRESENCE 7/8
MASTER 8
PREAMP VOICING SWITCH 8
CHANNEL SELECT SWITCH 9
RECORDING OUTPUT 9
OUTPUT LIVE & SOLO 9/10
STANDBY & POWER SWITCHES 10
REAR PANEL:
AC RECEPTACLE 11
GROUND LIFT 11
MIX CONTROL & FX LOOP 11/12
MODERN/EXT.TRIGGER TO POWER AMP 12
SAMPLE HOOK-UP 13
EXTERNAL SWITCHING JACKS 14
RECORD OUTPUT JACKS 14
SETTING SIGNAL LEVELS 14
MAIN OUTPUTS 15
TUBE BAY 15
FACTORY SAMPLE SETTINGS 16/17
TUBE MAINTENANCE 18/19
Feature Article: BIAS ADJUSTMENT by Randall Smith 20/22
SPEAKER IMPEDANCE MATCHING & HOOK-UP GUIDE 23/28
Feature Article: ON TRIODES, PENTODES & IRISHMEN by Randall Smith 29/31
PARTS SHEET 32
PRECAUTIONS & WARNINGS
Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING:
certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet.
Keep away from curtains or any flammable objects.
Vacuum tube amplifiers generate heat. To insure proper ventilation always make
WARNING:
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of its
cabinet.
WARNING:
place objects filled with liquids on or nearby the amplifier.
WARNING: Always make certain 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 that amplifier is properly grounded. Always unplug AC power cord before changing
fuse or any tubes. When replacing fuse, use only same type and rating.
Avoid direct contact with heated tubes. Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power supply specifications listed on
the rear of the unit. Remove the power plug from the AC mains socket if the unit is to be stored
for an extended period of time. If there is any danger of lightning occurring nearby, remove the
power plug from the wall socket in advance.
Do not block any ventilation openings on the rear or top of the amplifier. Do not
Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
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 in handling control buttons, switches and controls. Do not use
solvents such as benzene or paint thinner to clean the unit. Wipe off the exterior with soft cloth.
Be sure to have the warranty card filled out by the store at which it was purchased and return to
Mesa/Boogie.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE !
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before removing chassis.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding conforms with local standards.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
OVERVIEW:
Congratulations on your choice of the
Rectifier Recording Preamp
and welcome to the
Mesa/Boogie
Family! This all-tube, two rack
space instrument is the latest in the legendary Rectifier line of amplifiers and after two years of intense R & D, is ready to wear the logo that
signifies its status as a full blown
. This preamp is designed to replicate direct, the sound and feel of the
Dual Rectifier Solo Head
Recto
pushing a Rectifier 4x12 mic’ed up in a good room without the power amp, speaker and microphone. A huge challenge considering 75%
of the ingredients historically used to achieve great recorded guitar sounds are missing! We think you will be as pleased as we are with the
Recto
results upon your first direct experience with this toneful piece. As well as great direct sounds, the
of its forefathers into this rack format and is an equally powerful live preamp as well. When combined with its mate, the
, these two create an all-tube stereo wall of crushing
2:100
Recto
aggression.
pre packs all the urgent authority
Rectifier Stereo
Six 12AX7A preamp tubes create the 6 modes in the 2 discreet channels. The top Clean Channel offers CLEAN, FAT and BRIT modes for
Dual
and
three distinct styles of rhythm work. The bottom Lead channel is comprised of the three signature sounds from the
Heads
RAW, VINTAGE and MODERN.
Triple Recto
A PARALLEL EFFECTS LOOP with a MIX Control is provided to ensure tonal integrity when using outboard processing. Buffered Stereo
RECORD OUTPUTS are balanced 1/4” TRS type jacks. The LIVE OUTPUTS are also Stereo and both RECORD and LIVE outputs
include the Return signal from the Effects Loop, so that processing may be printed and used live simultaneously.
EXTERNAL SWITCH jacks are provided to access the Channels and the SOLO feature remotely from an external midi controller. A trigger
port for the switchable MODERN feature on the matching
RECTIFIER STEREO 2:100
or
STEREO SIMUL-CLASS 2:90
power
amps is also included and ensures gain sounds will be ferocious.
A 2 button Footswitch provides instant access to the Channels and SOLO® feature for live performance applications. We’ve also included
a cool switching feature that allows you to switch between the CHANNEL 2 VINTAGE and MODERN modes when the Footswitch is
connected, giving you 3 footswitchable sounds from a 2 Channel platform!
Before we review the controls and features in more depth, we suggest taking a look at these helpful setup and tone tips.
FRONT VIEW :
INPUT
FT.SW.
Rectifier Recording Preamp
CLEAN
FAT
BRIT
RAW
VINT
MODERN
BRIGHT
GAIN TREBLE MID BASS PRESENCE MASTER
-3DB
PAGE 1
CH 2
VOICING
LIVE
BRIGHT
WARM
RECORD
CHAN
CHAN
ON
STANDBYONPOWER
OUTPUT LIVE SOLO
OUTPUT
1
FOOT
SWITCH
2
REAR VIEW :
WARNING
RECTO~PREAMP
ALL TUBE
RECORDING AMPLIFIER
POWER
117 V~
1 AMP
60 HZ.
HANDBUILT IN PETALUMA CALIFORNIA PATENTS PENDING FOR MUTE, RECORDING & SOLO FEATURES TUBES: SIX 12AX7
Rectifier Recording Preamp
:
To reduce risk of fire or
electric shock, replace fuse with
same type and rating only. Do not
expose this unit to rain or moisture.
LIFT
GROUND
10%
NORMAL
FX MIX
100%
SEND
MODERN
EXT. TRIGGER
TO POWER AMP
RETURN - L
CH1 - CH2
EXTERNAL SWITCHES
WARNING
:
To reduce risk of fire or electric
shock, Do not remove cover. No userserviceable parts inside. Refer
servicing to qualified personnel.
RETURN - R
SOLO
LEFT
RECORD
OUT
TO MIX
CONSOLE
LIVE
OUT
TO
PWR
AMP
(ALT FX PATCH)
RIGHT
INPUT
Helpful Hints:
RECORDING:
1) Always use the supplied A.C. Mains Cord provided and connect the unit to a grounded (3 pin) A.C.outlet. If you experience ground
related hum or buzz, try lifting the Chassis Ground by selecting LIFT on the Chassis Ground switch located on the Rear Panel. Circuit to
Chassis Ground (switch down) is the normal position and should be used - unless you experience a problem with this type of noise. Make
sure that the A.C. cord of the
Recto Preamp
monitors. This will help prevent hum or buzz created by different references to ground.”
is connected to the same power strip as the Mixing Console and power amp, or powered
2) Always begin sessions with the
Recto Pre
by zeroing out the Recording console Channel Input Trim and Output Fader as well as the
Preamp’s RECORD Output Level Control. This preamp is capable of output levels in excess of what some consoles input stages are
designed to accept. Following this simple practice will ensure that all stages of the system including the ears of you and the engineer or
others in the control room, will not be damaged from an unexpected volume surge.
3) When nothing is connected to the EFFECTS LOOP SEND and RETURN jacks, make sure that the EFFECTS MIX control is set to 10%
(all the way down) to prevent signal loss across the pot and associated LOOP circuitry.
4) Use high quality shielded cable of the shortest length possible for the signal between the RECORD OUTPUT jacks and the console’s
LINE INPUT.
5) Make sure the RECORD Outputs are used for connection to the recording console.
6) Make sure the CHANNEL 2 LIVE BRIGHT/WARM RECORD is set to the WARM/RECORD (down) position to ensure the correct
response from the 3 higher gain Lead modes.
7) Make sure the RECORD OUTPUT Level control is set above the “MIN” level mark on the chassis. This practice ensures the best
performance from Channel 2’s three higher gain Lead modes.
8) If you experience unwanted breakup in CHANNEL 1 CLEAN (or FAT with lower BASS control settings) with low front end GAIN settings,
try setting the CHANNEL1 Input Stage switch to -3db. This will pad the grid of the input tube and substantially increase the headroom at
this pre-control stage.
NOTE: As with any system comprised of individual components, all the parts make up the whole. Remember that achieving great results
with this preamp is also dependant on the equipment it is interfaced with. Consoles, power amps and most especially, the playback
monitors are all part of the signal chain and therefor affect the overall tone of the sounds you are dialing. Great care was taken during the
design process to use the
Rectifier Recording Pre
in different environments with a variety of systems and monitor styles and should
work well with most consoles and playback monitors.
PAGE 2
Helpful Hints: Continued
If you have less than satisfactory results with this instrument after reading the manual and believe it to be operating normally; we suggest
either trying some different playback monitors or, taking it to you nearest dealer to try it through a different setup. In our tests we have
found the playback monitors to be a huge part of the equation and that some are not very friendly to overdriven guitar sounds.
LIVE:
1) Always use the supplied A.C. Mains Cord provided and connect the unit to a grounded (3 pin) A.C.outlet. Make sure that the A.C. cord
Recto Preamp
of the
hum or buzz created by different references to ground. If you experience ground related hum or buzz, try lifting the Chassis Ground by
selecting LIFT on the Chassis Ground switch located on the Rear Panel. Circuit to Chassis Ground (switch down) is the normal position
and should be used unless you experience noise of this type.
2) Use high quality shielded cable of the shortest length possible when connecting the LIVE OUTPUTS to your power amp.
3) Make sure the LIVE Outputs are used when connecting to a Stereo power amp for live applications.
4) Use one of the 4 all-tube
These rack mount power amplifiers were designed specifically to create the other half of a great guitar amp rig and will ensure the best
performance with the
Stereo 20/20
.
is connected to the same power strip as the power amp or Live Mixing Console it is feeding. This will help prevent
MESA
Stereo Power amplifiers (preferably combined with
Rectifier Preamp
. The choices are;
Rectifier Stereo 2:100, Stereo Simul-Class 2:90, Stereo 2:50
Mesa
speaker cabinetry) for live applications.
and the
5) Make sure the CHANNEL 2 LIVE BRIGHT/WARM RECORD switch is set to the LIVE BRIGHT (up) position. This ensures that circuitry
devoted to rolling out unwanted frequencies for the RECORD Outputs will be replaced by circuitry that enhances dynamic attack for live
applications at the LIVE Outputs.
6) The SOLO Control is not activated until the Footswitch is connected to the Footswitch jack on the Front Panel.
7) The SOLO Footswitchable Boost feature is capable of settings higher than that of the OUTPUT Level and can not be set below the
OUTPUT Level’s setting.
8) CHANNEL 2 can be set up to achieve 2 footswitchable sounds (VINTAGE & MODERN) for live applications however, this option
defeats the SOLO feature. Here’s how:
*Select MODERN (lower position) on the CHANNEL 2 Mode switch. Connect the Footswitch to the Front Panel Footswitch jack using the
provided stereo cable. Use the CHANNEL button on the footswitch to toggle between CHANNEL 1 & 2. Use the SOLO button on the
Footswitch to toggle between VINTAGE & MODERN Modes in CHANNEL 2. Use the CHANNEL 2 Master for the MODERN Mode Master
Volume Control and the Solo Control to control the volume of the VINTAGE Mode.
NOTE: The best results will be achieved for this live scenario by using the companion power amp, the
connecting the MODERN trigger jack on the Rear Panel of the
Recto
power amp. This scheme recreates the
when MODERN is selected on the preamp. This tracking of power styles is identical to that which occurs in the
and is crucial to the performance of these Lead sounds.
Heads
sound in its authentic form because the negative feedback is removed at the power amp
Rectifier Preamp
to the MODERN trigger port on the Rear Panel of the
Rectifier Stereo 2:100,
Dual & Triple Rectifier
and
Now that we have some of the useful tips covered, let’s move on to understanding the controls and how they interact to create the sounds
you want to hear.
PAGE 3
FRONT PANEL CONTROLS:
INPUT / FT.SW.
First remove the protective covers from the tubes (plastic webbing) before connecting the A.C. cord to a power
receptacle.
INPUT: Connect your favorite guitar to the instrument INPUT jack. Flip the POWER switch to the ON position
INPUT
FT.SW.
while leaving the STANDBY switch set to STANDBY.” (It is always a good idea to practice this start up procedure
as at least 30 seconds of warm-up time lessens the shock on cold tubes, thus prolonging their life substantially.)
FT.SW. Connect the
Recto Pre’s
Footswitch to this jack, which will allow you to toggle between channels
remotely. Use only the supplied footswitch and stereo cable when connecting to this jack.
THE CHANNEL MODES:
CHANNEL 1:
CLEAN: This is the lowest gain circuit of the 3 Modes in CHANNEL 1 and is optimized for producing balanced pristine clean sounds. For
the best understanding of how to achieve a great sound in this mode, please refer back to the GAIN Control section of this manual.
However, a great place to start is 12:30 or so on the GAIN Control with more sparkle available below this and more warmth apparent
above...from there adjust according to your guitars individual response.
Because of its more traditional architecture, this mode also works extremely well for vintage style drive
sounds in live (power amp) applications. By turning the gain all the way up, a beautiful old school solo sound
CLEAN
FAT
BRIT
INPUT
FT.SW.
clean single note soloing where you need more body and warmth behind the notes. Because this mode is very different from the CLEAN
mode, it requires that you reset the controls for balance. We suggest running the BASS Control a couple notches lower, especially for
chording.
is possible...especially with neck single coil pick-ups. The TREBLE and MIDDLE Controls can also add gain
and sustain to this sound ( reduce Presence to blend highs ), but you will probably want to run the BASS
Control below 10:30 to avoid flubbiness and preserve a focused attack.
FAT: This mode comes from our original
Mark 1 Boogie
and puts emphasis on the low mid and bottom end
and as a result the top strings of the instrument have more girth and width. The difference is wonderful for
It also helps to use the GAIN Controls’ tonal influence (refer to GAIN in the Controls section of this manual) to achieve the best results with
this mode. We like to set the GAIN somewhere between 10:30 and 12:00 for chording as this brings out the sparkle and improves the
headroom. For single note clean soloing you can run the GAIN up around 1:00 - 2:00. If you are going for a pushed rhythm sound with the
GAIN all the way up, you will likely have to run the BASS below 9:30 to avoid flubbiness and boom.
BRIT: This mode was inspired by the great sounding amps of the 50s’ & 60s’ that were built in Great Britain. These classic amplifiers were
basically “upside down Leo circuits” but none the less had a signature sound all their own, due largely to the fact that they were powered
by the pentode available to them at the time…the Euro style EL 34. However, the preamp sections of these classics were also different and
here in the
Recto Pre
they have been distilled down to a very different and useful rhythm mode. With emphasis on a lower region of Treble
and more punch in the low mids, this mode is truly different than the other modes in CHANNEL 1 It works extremely well for both chording
and single note soloing with its thicker throatier nature. It also lends itself well to clipped sounds when used live with a power amp, with its
less extended top end and wider mid section, that produces some of the coolest crunch rhythm sounds around in the LIVE applications.
For Direct applications it may be necessary to run the TREBLE and PRESENCE a little lower. The circuitry used to preserve the beautiful
clean sounds of CHANNEL 1 can put too much emphasis on the upper harmonics and when BRIT is used with max-ed out GAIN settings,
can sound thin and buzzy without the roll off that occurs in the CHANNEL 2 Direct circuit.
PAGE 4
FRONT PANEL CONTROLS: (Continued)
CHANNEL 2 MODES:
Recto
RAW: This
enhances the already versatile bevy of sounds the two original lead channels offered. The range of gain available covers an extremely
wide spectrum and it can be set to double as a formidable alternate clean mode, a low gain purring blues sound and beyond, all the way
sion. Spend time learning the lower regions of the VINTAGE mode as the overlap between RAW and VINTAGE is a place where many
beautiful sounds lie. These two modes are similar enough when VINTAGE is set in its lower range and RAW is set in its medium to higher
range, and yet each possesses a character that is unique and identifiable.
MODERN: Aggressive. This is the word that best describes the menacing power of the
in its original form in CHANNEL 2. A take no prisoners, crushing assault of top end cut and lightning fast response creates a sound of
unparalleled aggression that has set a new standard for hard core sounds. The added tightness of the low end response combined with
the radically more present top end keeps the MODERN mode tracking accurately even at extreme gain settings.
mode is the lowest gain of the three in CHANNEL 2 s’ high gain lead channels. Its less saturated nature greatly
up to a grinding crunch or searing solo sound. The TREBLE can be set relatively high (2:00) to add a
CLEAN
FAT
BRIT
little more gain and shred when using RAW for certain crunch rhythm sounds. Don’t overlook the
amazing medium gain soloing potential RAW offers in CHANNEL 2 where, because of its more gradual
and responsive GAIN taper, a wide range of voice like single note solo sounds appear that benefit from
this more compressed, less saturated character.
INPUT
FT.SW.
VINT
RAW
MODERN
VINTAGE: This high gain mode is the famous liquid
in CHANNEL 2. Its lush harmonic content and fat creamy feel has found its way on to so many recordings, it is now a staple for anyone headed to the studio for an album project. Single note solo work is
Recto
voice and it can be found in its original state
effortless as the strings become easy to play with VINTAGE modes musical and natural tube compres-
Rectos
most rebellious of all modes and appears
NOTE: Keep in mind that the CHANNEL 2 MODERN experience can be further enhanced in a LIVE application by using the companion
power amplifier, the
Rectifier Stereo 2:100.
By connecting the EXT. TRIGGER MODERN jack on its Rear Panel to the
Recto Preamps’
MODERN trigger jack the power amp will track the preamp MODERN mode and auto-remove the negative feedback every time you select
MODERN on the preamp. This scheme duplicates the sonic authority as it recreates the exact circuit of the
Dual Rectifier Solo Head
in this rack mount platform.
NOTE: There is a slight volume drop when switching between CHANNEL 2s’ VINTAGE and MODERN modes when you are using the
RECORD OUT jacks connected to a console. This is a result of having to recreate the sound of the MODERN mode without a power amp
to remove negative feedback from. We duplicated the sound by notching the same frequencies that become recessive in the re-voicing
that occurs in the solo heads when the negative feedback is removed and are pleased with the results of this challenging task. The sound
Recto
has been created here without the unruly power section and the only thing
head owners may have to get used to is not getting blown
out of the room as you flip to MODERN. And if you just can’t get used to the well behaved operation direct, you can always connect up the
companion power amp and follow the above NOTE and blow yourself down.
THE TONE CONTROLS:
GAIN: Like most amplifiers, the GAIN Control in each channel determines its sensitivity and overall tonal characteristics. It meters the
amount of Gain that your guitar signal will produce. In the
Recto Recording Preamp,
we paid special attention to the amount and
frequencies of gain present in each mode, making sure the whole range of available gain is musically
usable. We also worked diligently with our suppliers to develop pots with tapers useful to players that
require that touch sensitive relationship of input signal level to gain saturation. An essential ingredient to a
great amps expressive nature. To maximize your expression, spend time learning the different regions of
the GAIN Control in each mode and tonal colors they enhance. Almost more - or certainly equal to the tone
controls - the GAIN Control shapes your sound.
INPUT
FT.SW.
CLEAN
FAT
BRIT
GAIN
RAW
VINT
MODERN
PAGE 5
FRONT PANEL CONTROLS: (Continued)
GAIN: (Continued) As a general guideline, the lower regions of this control produce brighter, tighter, faster sounds with enhanced
dynamics...the higher the GAIN Control setting - the warmer, fuller, more saturated and more compressed ( less dynamic ) the sound
becomes. Remember that with this sensitive control the entire character of the channel is determined. Because the
Preamp
is a hyper-tuned gain machine some of the best and most musical sounds are found in the middle ranges of this control. In other
words...more is not always better.
CHANNEL 1 BRIGHT & INPUT PAD:
These two recessed mini toggle switches are CHANNEL 1 specific and offer a couple of choices for how this channel can be configured to
achieve the perfect clean sounds with your individual style and choice of instrument.
BRIGHT: (Upper Switch)
This switch provides two voicings for the 3 modes of CHANNEL 1, NORMAL and BRIGHT so that you can tailor the upper harmonics to the
style you are playing. This switch can also be used to either add the sparkle to a flat sounding guitar or, roll off unwanted brightness for a
warmer, jazzier sound. The switch operates left to right and selecting the (left) NORMAL position defeats the BRIGHT circuit, offering a
round, warm voice that is great for jazz sounds or single note solo work where the fattest response is desired. Selecting
BRIGHT
the (right) BRIGHT position engages circuitry that accentuates the upper harmonic region and adds an upper extension to
the sound. This region of frequencies is much higher than those affected by the TREBLE Control and they open up the
GAIN
sound, making it more three dimensional and breathing. We tend to prefer the BRIGHT (right) position due to this more
open and transparent quality, even for jazz or solo sounds. It is often preferable to retain these higher, sparkling frequen-
-3DB
cies and roll out the lower, and sometimes harsher, ones with lower settings of the TREBLE and PRESENCE Controls to
produce a sound that is sweet and warm.
Recto Recording
On the other hand, use the BRIGHT switch set to the NORMAL position to create a more traditional, less enhanced clean sound when
connecting directly to a console. Because near field monitors can often sound too bright and traditional clean sounds have often been
achieved by mic’ing up favorite old cabs, the rounder voice of the NORMAL (left) position can be very helpful in creating a sound with more
girth and less sparkle.
-3db PAD:
This (lower switch) mini toggle provides a pad for CHANNEL 1 and can be used to clean up the signal for ultimate clean sounds when
using the
Recto Pre
direct into a recording console. The left position is NORMAL and allows the full strength signal of your instrument to
be fed to the input tubes first stage. The right position activates a- 3db Pad and knocks down the signal strength fed to this first stage by
this amount.
BRIGHT
Again, because near field monitors can be like putting a microscope on your sounds, the subtle and normally undetectable breakup or overdrive you’ve probably been living with as your live clean sound, is far less soulful in the direct
GAIN
environment. This switch puts a - 3db Pad in line with the input so that the signal is padded before it hits the grid of the
input tube. Because this pad occurs prior to the GAIN Control, it knocks down your guitars’ signal strength, much like
-3DB
turning down the volume pot. In fact, if you don’t mind the change in sound with your guitar set low, this is another way to
achieve what the pad does.
If you prefer to use this scheme, it is helpful to put a capacitor of a small value (.001pf) across the volume pot of your guitar so that you
don’t lose too much top end as you roll the pot down. Some will prefer this to the slight roll of that occurs when the - 3db Pad is switched
into the circuit.
It is important to understand - and get a feel for - the headroom scenario at this crucial place in the circuit. If there is any clipping at this first
stage, no settings of the GAIN or TONE controls at later stages will diminish or remove it. Knowing this and utilizing the - 3db Pad will help
you to get a great clean sound and will save valuable time in the studio.
PAGE 6
FRONT PANEL CONTROLS: (Continued)
TREBLE: As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. Its setting on the
Recording Preamp
determines the blend and strength of the MIDDLE and BASS Controls. Set high, it is the dominant control, thus
Recto
minimizing the amount of Mid and Bass that would be possible in the mix. Set low, the TREBLE becomes the
GAIN
BRIGHT
TREBLE
-3DB
recessive control and a warmer, darker blend is produced. Dial with care.
Subtle tweaking of this control tends to produce the best results.
MIDDLE : The MID Control determines the blend of midrange punch and boldness. It also has a great deal to do with how a sound feels
to play. Setting the Midrange low scoops the attack, making the sound and feel more liquid and resilient. Setting the MID Control higher
introduces more punch and authority, helping sounds cut through a mix better. Setting the Mids very high
BRIGHT
may make the strings feel a little stiffer and less spongy. Keep this in mind when dialing up your sounds so
that you can retain the best feel on the strings, allowing you to always play your best.
GAIN
TREBLE MID
In the BRIT Mode, the MID Control set low produces a sweeter, smoother clip and really allows this sound
-3DB
to purr. Try the GAIN Control set at around 11:00 or so and the MID Control set at around 7:00 to 9:30
for a tasty blend of smooth dynamic overdrive. Add Treble to focus the attack and fatten with the BASS
Control. Presence will “Open up” or compress this beyond vintage sound that howls with authenticity. This has to be one of the best
sounds in the
Recto Recording Preamp.
At high Gain settings in either the VINTAGE or MODERN Modes, the MID Control dials in
punch and aggression. For the tightest crunch chording, set the MID Control high, say around 1:00 to 2:30. To make single notes feel
juicier and more liquid, reduce the MID Control to around 9:00 or so. In the MODERN Mode, using the Mid higher in conjunction with the
PRESENCE Control also set high, delivers a down right ugly crunch that’s huge and angry - not fit for the meek! This setting also sounds
great and becomes easier to play and more elastic feeling with the GAIN Control set at 2:00 or higher.
BASS: This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE Control. It should
be set with moderation as extreme settings in either low or high directions can produce an unbalanced tone. Be “especially” careful in
higher Gain settings of either channel. Too much Bass will cause a flabby unfocused sound.
BRIGHT
Try setting the BASS Control to 1:00 for clean sounds in the CLEAN Mode and 10:00 or below when
GAIN
TREBLE MID
BASS
dialing up high gain overdriven sounds in this Mode. In the LEAD Modes, try setting the BASS
somewhere between 7:00 and 2:00 . These settings will vary with the amount of Gain and Treble
-3DB
you have dialed up.
PRESENCE :
These rotary controls adjust the brightness above that of the TREBLE frequency wise, and allow you to fine-tune the upper harmonics to
suit the style you wish to play. In CHANNEL 1 it can be used to open up the sound when set in its upper region - adding a chiming, bell like
quality that also feels as if headroom has been increased. Set low in CHANNEL 1 the sound becomes rounder and less pointed or even
compressed, which is desirable for traditional rock or roots style rhythm work. With the PRESENCE all
the way down a beautiful jazz sound can be found and though this may seem out of place coming from
a line of amps best known for high gain grinding, don’t underestimate the power of CHANNEL 1 for
BASS
TREBLE MID
PRESENCE
studio clean sounds of any style.
PAGE 7
FRONT PANEL CONTROLS: (Continued)
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 preamps GAIN Control to be used in a wide range of settings, while never having to affect the listening level. On the
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.
Rectifier Recording
BASS PRESENCE MASTER
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
TER
LIVE
BRIGHT
CH2
VOICING
WARM
RECORD
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.
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