Mesa/Boogie Three Channel Dual & Triple Rectifier Solo Heads Owner's Manual
Hello from the Tone Farm
...You, smart player and all around intuitive human, have put your trust in us to be
your amplifier company. This is something we do not take lightly.By purchasing and
choosing this unit to be a 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 now the owner of a great amp, bred of fine all tube amp heritage...benefiting
from the many pioneering and patented MESA circuits that led to the refinement of
your new instrument. Feel confident, as we do, 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 fine musical instrument and the commitment it takes to
make great music. The same commitment to quality, value and support we make to
you...our new friend.
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:
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
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.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Vacuum tube amplifiers generate heat. To insure proper ventilation always make
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.
WARNING: Do not block any ventilation openings on the rear or top of the amplifier. Do not
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of
its cabinet.
WARNING: Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
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.
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.
Three Channel
Dual & Triple Rectifier Solo Heads
TABLE OF CONTENTS
Overview _______________________________________________________________________________ 1
FRONT PANEL CONTROLS
Getting Started & Helpful Hints ___________________________________________________________2-3
Instant Gratification (3 sample settings) _____________________________________________________ 3
CHANNEL MODES
Channel 1 (Clean / Pushed) _______________________________________________________________ 4
Channel 2 & 3 (Raw, Modern & Vintage) ____________________________________________________4-5
THE CONTROLS
Gain, Treble and Master __________________________________________________________________6-7
Mid, Presence and Bass _________________________________________________________________8-9
Output and Solo _______________________________________________________________________9-10
Standby and Power _____________________________________________________________________ 10
REAR PANEL CONTROLS, SWITCHES & JACKS
Slave Control __________________________________________________________________________ 11
Speakers ______________________________________________________________________________ 11
FX Loop ____________________________________________________________________________11-13
External Switching Jacks ________________________________________________________________ 13
Bias Switch _________________________________________________________________________13-14
Rectifier Select _________________________________________________________________________ 14
Power - Spongy & Bold __________________________________________________________________ 14
Fuse _________________________________________________________________________________ 15
Factory Sample Settings (All 3 Channels) ________________________________________________16-18
Personal Setting Sheets _______________________________________________________________19-21
Tube Description & Task Charts _________________________________________________________22-23
Tube Noise & Microphonics ______________________________________________________________ 24
Diagnosing Pre-Amp Tube Problems _______________________________________________________ 25
Bias Adjustment: A feature article by Randall Smith ________________________________________26-28
Speaker Impedance & Possible Hook-Up Schemes - Amplifier to Speaker Cabs _________________29-34
Triodes, Pentodes & Irishmen: A feature article by Randall Smith _____________________________35-37
Parts Sheet ____________________________________________________________________________ 38
Overview:
INPUT
ON
STANDBY
SOLO HEAD
SOLO
OUTPUT
CH2
RAW
MODERN
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
V
I
N
T
A
G
E
CH1
CLEAN
PUSHED
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
POWER
ON
FRONT VIEW :
DUAL or TRIPLE RECTIFIER
Solo Head
REAR VIEW :
DUAL or TRIPLE RECTIFIER
Solo Head
SPEAKERS
FUSE
(TO PWR AMP)
LEVEL
SLAVE
OUT
DUAL RECTIFIERTM SOLO HEAD 100
ALL TUBE AMPLIFIER HANDBUILT IN PETALUMA, CALIFORNIA
16 OHM 8 OHM 4 OHM 4 OHM8 OHM
SEND
FX LOOP
RETURN
FOOTSWITCH
ASSIGN
CH1
LOOP
ON
CH2 CH3
FTSW
LOOP
BYPASS
Defeats
OUTPUT
& SOLO
Controls
NORMAL
SEND
NORMAL
MIX
10% 100%
CH 2
CH 1
CH 3
FT
SW
CHANNEL
CAUTION: Unplug power before
removing fuse or bolts
holding chassis
RECTIFIER
BOLDSPONGY
BIAS SWITCH
6L6
EL-34
CAUTION
BIAS SETTING
MUST MATCH
TUBES IN USE
VACUUM
TUBES
(NORMAL)
BEST TO USE TUBE RECTIFIER WITH EL-34s
SILICON
DIODES
(HI POWER)
POWER
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
EXTERNAL SWITCHING
CHAN 1 CHAN 2 CHAN 3 SOLO LOOP
CH3
RAW
MODERN
V
I
N
T
A
G
E
Three Channel
Dual & Triple Rectifier Solo Heads
Operating Instructions
Congratulations on your choice of the new Three Channel Dual or Triple Rectifier Solo Heads as your amplifier!
Their two channel relatives launched a sound back in 1990 that would come to define a musical style and now, a decade later, are
synonymous with high gain guitar. The “Recto” - as it is affectionately known - has found its place in history as a rock ‘n roll icon and
seems to be growing in popularity every week. The long and ever growing list of recording credits and inspired owners endorsing the
beyond gain performance of these all tube machines of mayhem is testimony to their tone, versatility and reliability. The time proven
magic created by combining our patented Switchable Dual Rectifier power section with two different tube preamps of unsurpassed
gain, focus and expression created an instrument of devastating power.
Well that combination just got exponentially more powerful with the release of the Three Channel Dual & Triple Rectifiers. Now
there are virtually no limits or compromises as you can footswitch between three discreet channels - each sound dedicated and fully
evolved! An entirely new channel dedicated to rhythm sounds lets you choose between two modes...CLEAN with its many colors of
normal gain staging - and a boosted, re-voiced PUSHED circuit that reveals an urgent, more aggressive gain range that is perfect for
crunch rhythm or medium gain soloing.
The two LEAD Channels have also received a comprehensive revamping that retains the original two essential Recto modes VINTAGE
& MODERN in all their blistering glory, but also adds an amazing new mode dubbed RAW. That’s right, three modes per channel! The
RAW modes’ super sensitive personality roams effortlessly through vir tually all ranges of gain...from almost-clean to a fast tracking
crunch, allowing you to harness the Recto spirit for any style of music. With these two new lead channels you may footswitch between
any two of six solo modes! And if this performance minded power isn’t enough to get you through a gig, we have fitted the new Recto
with the SOLO Control found on some of our other models. This valuable feature is an additional volume control wired in parallel to the
OUTPUT Control allowing you to footswitch to a preset amount of volume boost during live performance. And finally, to top it off the
EFFECTS LOOP has also been updated to include a footswitchable option to the already complete array of programmable choices.
These eight modes housed in three new simple to use channels, along with the other improvements, open new doors for the Recto to
be considered by any player wanting great clean sounds and a myriad of solo possibilities. While they still remain the hardest grinding
heads out there, this new versatility is sure to land the Three Channel Recto in some surprising new musical environments.
PAGE 1
GETTING STARTED:
HELPFUL HINTS:
FRONT PANEL: CONTROLs & FEATuREs
Before we get to some basic sample settings, let’s get the Recto plugged in and ready to play.
1.) Remove the plastic webbing from all of the tubes (including the preamp tubes behind the row of power tubes) and unwrap
the large 5U4 Rectifier Tubes.
2.) Slowly bend the spring steel tube clamps on the two (or three) far right (when viewing amp from the rear) tube sockets up so that
the tubes will have to push the clamps open slightly as you install the tubes.
3.) Install 5U4 Rectifier tubes in the far left (when viewing amp from the rear) tube sockets being careful to line up the guide pin on
the tubes base with the slot in the respective tube socket. Then gently rock the tube back and forth while pushing downward on the
tube until the tubes are seated.
4.) Connect the Footswitch DIN Cable to the DIN jack located near the center of the Rear Panel.
5.) Connect your speaker cabinet to the correct impedance Speaker Output jack located on the Rear Panel. (MESA cabinet imped-
ances are printed on the jackplate of all cabinets.) MESA 4x12 cabinets are 8 Ohm.
6.) Connect the included A.C. power cable to the A.C. receptacle located on the Rear Panel and plug the amplifier into a grounded
A.C. outlet.
7.) Flip the POWER switch to the ON (up) position and wait at least 30 seconds for the power tube filaments to warm up with the
STANDBY switch in the Standby (OFF/down) position. This cold start procedure prolongs tube life substantially if it is followed each
time your amplifier is powered up.
8.) Turn the OUTPUT Control off or to a very low setting before flipping the STANDBY switch to the ON (up) position. This will
prevent accidental settings that are too loud for the room or your ears. These amplifiers are capable of extremely loud volumes
and should be used with care to avoid damage to your hearing. Starting each power up with the OUTPUT Control zeroed will
help to eliminate painful and/or embarrassing situations.
9.) Flip the STANDBY switch to the ON (up) position and enter the world of Rectosis.
Before we move on to some sample settings that will help you to better understand the nature of the beast, here are some tips that
may save you some time and answer some questions.
1.) The Rear Panel CHANNEL SELECT rotary switch must be set to FOOTSWITCH for the Footswitch to select either channels or
features.
2.) The OUTPUT Control works only when the FX LOOP is activated. Switch out of the Loop Bypass position on the Loop Assign
Rotary Control to any of the other 5 positions.
3.) The SOLO Control is activated when the Footswitch is connected to the FOOTSWITCH jack on the Rear Panel and the FX LOOP
is activated. When the footswitch is not connected the SOLO Control will have no effect on the volume level.
4.) When the FX LOOP is activated it is normal to hear the volume drop a bit. Use the SEND Level Control on the Rear Panel even
if no processor is patched in to bring the volume level back up to approximately unity gain.
PAGE 2
HELPFUL HINTS:
(Continued)
5.) The SOLO Control can be set for a volume level above that of the OUTPUT Control setting. It will not allow a setting below that
INSTANT GRATIFICATION:
CHANNEL 1: Sample Setting #1
INPUT
CLEAN
PUSHED
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
CHANNEL 2: Sample Setting #1
RAW
MODERN
V
I
N
T
A
G
E
CH2
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
CHANNEL 3: Sample Setting #1
RAW
MODERN
V
I
N
T
A
G
E
CH 3
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
CH1
of the OUTPUT.
6.) The GAIN and TREBLE are the most powerful controls in all three channels. They should be used with taste and you will find that
the best sounds are found with these two controls set somewhere in their middle regions. Avoid setting the TREBLE above 2:00 when
the GAIN is maxed as the possibilities for noise and squealing from microphonic preamp tubes increases dramatically.
7.) You will notice a volume increase when switching from the CLEAN to PUSHED in Channel 1 and from VINTAGE to MODERN in
Channels 2 and 3. When switching from one mode to another always check your Channel MASTER setting to avoid sudden
volume jumps and possible hearing damage. It’s not a bad idea to get in the habit of zero-ing out the MASTER before reconfiguring
a channel.
8.) When using the Effects Loop for external signal processing, the best tonal results will be obtained with the processor’s dry/wet
mix set to 100% wet and the Rectos’ Effects Loop RETURN MIX Control set as close to 10% as possible. This scheme will retain most
of the pure sound of the Recto and lower the chance of possible tonal degradation due to the processors’ limitations.
9.) Choosing the proper Rectifier mode with the RECTIFIER SELECT switch (located on the Rear Panel) that best suits the sound
style you are trying to dial can greatly enhance the performance. VACUUM TUBES produce a more elastic feel and softer clipping
characteristics which is especially great for single note soloing. SILICON DIODES produce more power and headroom and can
also track better for extreme gain settings while staying tighter in the bottom end.
10.) The PRESENCE Control determines a lot about the voicing of gain sounds. Set lower it will fatten and compress single note
sounds and lend a liquid feeling to the strings in Channel 2 and 3 and the PUSHED sound in Channel 1. Above 12:00 it starts adding
cut and tightness in all channels.
11.) When using PUSHED with the GAIN Control maxed (5:30), do not run the TREBLE Control above (2:30). Settings above (2:30)
can create possible oscillation in certain preamp tubes in the V1 position. This can be avoided altogether by setting the TREBLE
Control sensibly when the GAIN Control is maxed. Use the PRESENCE Control for additional brightness.
Hopefully these tips have helped you in getting ready to enjoy a walk on the wild side. By now you should be familiar with much of
the Rectos’ features so let’s check out the sound (like you haven’t yet) with an example of some popular sounds in three of the 8
modes.
Here are some examples of the most popular sounds in the three channels. There are additional
sample sounds presented later in this manual, but the possibilities are endless and we encourage you to find your own sounds through
experimentation.
N o w t h at y o u h a v e s c ra tc h ed t h e s ur f a c e o f t on a l o pt i on s i t ’s t im e t o l o ok a t e a ch i n d i v id u al control to see how th ey interact and what role they play in helpi ng you arrive at your sound quickl y an d ea sily.
PAGE 3
CHANNEL MODES:
Each of the Rectos’ three channels contain a choice of modes - two in Channel 1 and three in Channels 2 and 3, so that each channel
CHANNEL 1: CLEAN / PUSHED:
INPUT
CH1
CLEAN
PUSHED
CHANNEL 2 + 3 RAW / VINTAGE / MODERN
RAW
MODERN
V
I
N
T
A
G
E
CH2
GAIN
MASTERPRESENCE
TREBLE
MIDBASS
may be configured for an array of sounds. These mode select mini toggles radically alter the voicing of the channel and many internal
changes occur as you switch through the modes. How you choose to use these different modes is up to you, but we think you will
agree that this scheme provides some of the most versatile footswitching available anywhere.
CLEAN : This is the lowest gain circuit of the Rectos’ eight modes 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. By turning the gain all the way up, a beautiful old school solo sound 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.
PUSHED: This mode is a radical departure from the sweet shimmering blend of the CLEAN modes
low gain character. Huge increases in gain early on in the first stages of the pre-amp produce one of
the biggest differences between modes in the entire amplifier and transforms what you thought to be
a tame and gentle clean channel into a raging crunch machine. This incredible amount of gain also
creates one of the most expressive solo modes in your Recto. Because there are less stages of gain for the signal to travel through
and the tone control network is tuned for the brighter nature of clean sounds, this mode responds quicker to your pick attack and has
a more urgent, snappy feel. Don’t overlook this mode for some of the Rectos’ coolest overdrive solo sounds.
NOTE: When using PUSHED with the GAIN Control maxed (5:30), do not run the TREBLE Control above (2:30). Settings above
(2:30) can create possible oscillation in certain preamp tubes in the V1 position. This can be avoided altogether by setting the TREBLE
Control sensibly when the GAIN Control is maxed. Use the PRESENCE Control for additional brightness.
NOTE: Though Channel 2 & 3 look identical there is one important difference to understand and keep in mind while you are searching out and dialing up your sounds. The PRESENCE Controls are different between the two channels and this affects how
you will find yourself configuring them to best suit your style.
CHANNEL 2 is optimized for the original Recto VINTAGE mode with a milder PRESENCE range and a blend of top end harmonics
more suited to soloing. This helps RAW sound more vintage and warm as well. This PRESENCE has a slower taper and therefore a
more gradual response. This means you have finer resolution for the upper
harmonic frequencies which is great for achieving the warmest, fattest single
note soloing sounds.
The trade off is that for the MODERN mode the PRESENCE peaks out
before it reaches true mayhem and there is not the insane amount of top
end available. But, fear not...that is the reason behind the difference in
PRESENCE Controls.
PAGE 4
CHANNEL MODES: (Continued)
CHANNEL 3 is optimized for the legendary MODERN mode with a range of PRESENCE far exceeding that of CHANNEL 2. This
RAW:
VINTAGE:
MODERN:
channels’ PRESENCE picks up where CHANNEL 2 leaves off and allows top end harmonics that are downright dangerous. The trade
off here is that for VINTAGE and RAW the PRESENCE is hyperactive and must be dialed with care to achieve the more warm and round
sounds. You can think of it like this...a Presence setting equivalent to CHANNEL 2’s PRESENCE Control set to 5:30 (maximum), is
found in CHANNEL 3 at approximately 10:00 on CHANNEL 3’s PRESENCE Control. This means that the whole range is compressed
for these more vocal sounds and the resolution for brighter sounds is expanded.
The difference in these PRESENCE Controls produces a wonderful difference in the Channels and makes it possible to fine tune any
of the modes to your liking. You might want two versions of RAW, one set warmer for purring blues sounds and the other set brighter
for either soft clip, almost clean chording or stinging solo jabs. Or, you might need two MODERN modes...a super tight aggressive
sound for grinding rhythm and a rolled off, compressed version for bold, but authoritative solo work. The differences create limitless
possibilities for expression and we encourage you to learn these two PRESENCE Controls and keep in mind their response as you
dedicate your channels and divide up their responsibilities.
If you come to find that you are mostly using two sounds of the same type in the same Mode in Channels 2 and 3 (both 2 & 3 set to
VINTAGE or both 2 & 3 set to MODERN) and this difference in Presence pots is making it difficult to dial in your sounds, it is possible
to change out either channels PRESENCE Control to be the value and taper of the Channel you prefer. This will omit the differences
and create two virtually identical channels. You can call us and ask to speak with a Product Specialist. Tell us which channel you wish
to duplicate and the correct PRESENCE Control pot can be sent to you for a nominal charge. If you do not feel comfortable doing this
mod yourself or trust anyone in your area, you can obtain a Return Authorization from our Customer Service Dept. and send your
amplifier to us to perform the mod for the minimum bench charge. You will be responsible for shipping charges both ways and
to pack the unit so that it is safe from shipping damages.
This new Recto mode is the lowest gain of the three in the two high gain lead channels. Its less saturated nature greatly
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 up to a grinding crunch or searing solo sound. The TREBLE can be set relatively high (2:00) to add a little more gain and shred
when using RAW for certain crunch rhythm sounds and keep in mind CHANNEL 3 is capable of more aggressive sounds due to
its more extreme PRESENCE Control taper. Don’t overlook the amazing medium gain soloing potential RAW offers in CHANNEL
2 where, because of the PRESENCE Controls more gradual response, a wider range of voice-like single note sounds appear that
benefit from this more compressed character.
This high gain mode is the famous liquid Recto voice and it can be found in its original state in CHANNEL 2. Its lush
harmonic content and fat creamy feel has found its way onto so many recordings, it is now a staple for anyone headed to the studio
for an album project. Combining this super juicy, expressive preamp with the Rectos’ black magic, tube-rectified power section creates
colors in gain that most players find truly addictive. Single note solo work is effortless as the strings become easy to play with
VINTAGE modes musical and natural tube compression. 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 posses a character that is unique and identifiable.
Remember that you can swap channels to achieve different voicings of the VINTAGE sound and no matter which you settle upon,
you will likely find your trademark lead sound lurking somewhere in this sea of liquid gain.
Aggressive. This is the word that best describes the menacing power of the Rectos’ most rebellious of all modes and
appears in its original form in CHANNEL 3. 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. Keep
in mind that when using MODERN in CHANNEL 2 you will have to run the PRESENCE Control almost all the way up to approach
the lower range of the PRESENCE Control in CHANNEL 3. This lack of extreme top end can be a benefit when searching for single
note solo sounds in the MODERN mode as the more compressed nature of this tamer presence range in CHANNEL 2 tends to warm
things up.
PAGE 5
CONTROLS:
GAIN:
INPUT
CH1
CLEAN
PUSHED
GAIN
TREBLE
REGIONAL TITLES ARE THE SAME FOR ALL
3 GAIN CONTROLS
Brightest
Most Balanced
Warmer & Saturated
This control adjusts the predominant gain stage in each channels’ circuit with the function and taper being optimized for
each individual channel. Remember that your Recto is really three separate multi-mode amplifiers built onto one chassis, so though
each channel looks identical, the GAIN Control for each channel comes in a different place and adjusts a different point in that channels circuit.
In most guitar amplifiers, and especially in all-tube circuits, the GAIN Control is the most powerful control in the preamp. It shapes the
overall style and character of the sound and is responsible for whether
the sound is clean, overdriven or anywhere in between. In your Recto,
the GAIN Control is even more powerful. It not only determines the
amount of drive, but also acts as an integral part of the tone control
string as well.
To simplify the GAIN Controls’ role in shaping the overall tone of the
sound we will look at it in two ways - 1; alone and 2; in conjunction with
the tone controls.
1) By itself the GAIN Control has basically three tonal regions -
Middle (11:15 - 2:00) enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a fuller
bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in all three channels. This region
contains many of the Recto’ best sounds...especially for soloing due to the crucial blend of an expressive attack combined with ample
sustain.
High (2:15 - 5:00) saturates the signal and enhances low and low mid frequencies. While this region provides the maximum saturation
and therefor sustain, it also compresses and softens the attack characteristics. For this reason we suggest using this higher region
of the GAIN Control sparingly and only when maximum sustain is needed.
NOTE: Due to the Rectos’ extreme gain potential, the highest regions of the GAIN Control may possibly push the pre-amp tubes past
what they can handle, producing microphonic squealing. While we screen and test the tubes your amplifier was shipped with and the
tubes in your amp passed our rigourous test, we can’t predict how the tubes will respond over time exposed to extreme gain settings.
Your tubes are warranted for a period of 6 months under normal use, but you can save yourself the present and future inconvenience
of having to deal with annoying microphonic tube problems by simply using a little common sense...Don’t turn the Gain all the
way up!
If you must for a specific part or at very low volumes, back down the TREBLE and PRESENCE Controls. Your Recto was designed to
provide amazing gain and tone at less than extreme settings removing the need for you to crank everything all the way up. If you are
not able to achieve the sound you want at sensible settings on any or all of the controls, your problem may lie elsewhere in the signal
chain, i.e. pick-ups, cabinetry, processing etc. Keep in mind you can always call on one of our product specialist Monday through
Thursday and seek some advice should you find yourself struggling to get the sound you want.
Low (7:00 - 11:00) provides the cleanest, least saturated sounds and in
this region the sound will be brighter and contain more upper harmonics
lending a three dimensional character to the sound.
PAGE 6
GAIN: (Continued)
2.) GAIN - In conjunction with the Tone Controls - Basically, a simple rule applies...as the Gain is
TREBLE :
MASTER :
The Controls:
(Continued)
INPUT
CH1
CLEAN
PUSHED
GAIN
TREBLE
REGIONAL TITLES ARE THE SAME FOR ALL 3 TREBLE CONTROLS
SWEET SPOT
MASTER
INPUT
CH1
CLEAN
PUSHED
GAIN
TREBLE
REGIONAL SETTINGS ARE THE SAME FOR ALL 3 MASTER CONTROLS
MOST SENSIBLE RANGE
EASIEST TO BALANCE CHANNELS
REASONABLE FX LOOP SIGNAL LEVELS
increased the Tone control string has less and less effect on the signal until at 5:00 the signal is so saturated that you are getting
mostly Gain and very little Tone. Again, this is the reason we suggest using the GAIN Control in its middle region. Here the Tone
control string is very active and provides maximum shaping power - allowing you to dial virtually any sound you desire.
As in most tube guitar amplifiers, the TREBLE Control (in all three channels of your Recto ) is the most power-
ful of the rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is first in the signal path of the tone
controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of
the TREBLE Control is very important for equal representation of the three frequency regions to appear at their respective controls.
Like most of the controls on your Recto, there is an optimum region of the
TREBLE Control where ample top end is mixed in and yet enough signal is still
passed on to the MIDDLE and BASS Controls.
As you might surmise, here is the sweet spot. There are definitely great sounds
above and below this middle region (11:00 - 1:30), but the balance between the
TREBLE Control and the other two tone controls is compromised.
The one place you may want to throw caution to the wind and set the TREBLE
Control above this median zone presents itself in Channel 1 of your new Recto.
In both modes (Clean & Pushed), the TREBLE Control can be used to dump
extra gain into the mix. This is especially effective in the PUSHED mode for
crunch sounds. When doing so use the PRESENCE Control to roll off some of
the more than ample top end for a more compressed feel and fatter voice. As
you might surmise, the BASS Controls’ effectiveness will be reduced, so you
may have to run a much higher setting than you are used to seeing to achieve a
balance. This said, keep in mind that the TREBLE Control in Channel 1 Pushed should not be set much above 2:30 to avoid unwanted
microphonic tube problems.
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can
see each Channel is fitted with its own MASTER Control, enabling the three channels relative volumes to be matched regardless of
their extremely different sound styles and gain signatures. The MASTER Control makes possible a wide range of sounds through its
ability to use very low Gain sounds at high volumes and
conversely, high Gain sounds at low volumes and everywhere
between.
Again, we suggest using the MASTER Control in its sensible
ranges (9:00 - 2:00). Here, the channels will be easier to match
with each other and the Effects Loop will see more reasonable
signal levels.
NOTE: Because the MASTER Control creates the send to the
Effects Loop, extreme settings will cause a large signal to be
sent to the Loop for that Channel. Not only may this cause possible overloading of the processors Input stage, but will make
balancing the three channels’ Effect Send level difficult.
PAGE 7
The Controls:
(Continued)
MID :
The MID Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dra-
PRESENCE :
HELPS ADD PUNCH TO WEAKER PICK-UPS
SCOOPED AND EASY TO PLAY
INPUT
CH1
CLEAN
PUSHED
GAIN
TREBLE
REGIONAL TITLES ARE THE SAME FOR ALL 3 MID CONTROLS
MID
PRESENCE
REGIONAL TITLES ARE THE SAME FOR ALL 3
PRESENCE CONTROLS
MAS
MID
SCOOPED AND EASY TO PLAY
MOST BALANCED VOCAL QUALITY
matic as that of the TREBLE Control, it plays an integral part in achieving any sound in your Recto. It is capable of changing the feel
dramatically as it blends in a group of frequencies that
tend to soften or stiffen the way a sound feels to play.
Most players tend to lean in the direction of lower MIDDLE
Control settings (7:00 - 11:00) where a scoop in this region
produces girth ( by letting the Bass become a little more
dominant ) and a lack of punch lends a more compressed,
even feel to the strings and therefore less apparent resistance to the pick. As the MIDDLE Control is increased,
(11:30 - 1:30) the sound is rounded-out and filled-in with a
focused mid attack appearing rather quickly. As you would
guess, the feel starts to change - becoming more resistant.
Above this region the MIDDLE Control could be used to
compensate for either weaker pick-ups or for times when
a specific deficiency is produced by either an extremely
high setting of other tone controls, or a physical anomaly
in the room. While these MIDDLE Control settings (2:00 - 5:00) can introduce added gain and create enhanced focus, the trade-off
will be a stiffer, more forward, less compressed feel.
Channel 1 utilizes a different MIDDLE Control than that of the Channels 2 and 3 with a custom-designed taper and value. In its
low range (below 12:00) it functions as a normal midrange control with a taper suited to blending fine increments of these frequencies.
Most players lean toward a fairly radical scoop (7:00 - 10:30) for clean playing, preferring to let Treble and Bass remain dominant, thus
producing the signature sparkle and breath essential for a pristine clean sound.
As Channel 1’s MIDDLE Control is swept past 1:00, it quickly starts to add gain in these midrange frequencies adding cut and punch.
As the top end of the control is reached, (3:00 - 5:00) it becomes an additional gain control capable of taking both CLEAN and
PUSHED modes to extremes. Experiment with this cranked region in conjunction with conservative settings of the other tone controls
to balance both sound and feel. While this added flexibility may make Channel 1’s MIDDLE Control a little more tricky to learn at first,
it will become quite valuable as you start to realize the power of this super versatile channel.
The PRESENCE Control is a high frequency attentuator that is placed at the end of each channels pre-amp
stage and affects frequencies higher than those of the TREBLE Control. It acts independently of the other rotary tone controls and is
crucial in voicing the Channel. It is a powerful global tone control. Lower PRESENCE Control
settings darken and, in fact compress the signal which works well to fatten single note solo
sounds, giving them girth and focus. Some of the best lead sounds in your Recto will find the
PRESENCE Control in its lower regions, where a balanced, vocal response is achieved.
Higher settings unleash the mighty roar of your Recto and this can be great for sparkling clean
sounds in Channel 1 and more aggressive crunch rhythm sounds in the high gain modes. Be
sure to taunt the beast that lurks in Channel 3 MODERN as the PRESENCE is truly amazing
in this most agro mode.
NOTE: Read the following section on the Modes for Channel 2 and 3 for more PRESENCE
Control related information.
PAGE 8
BASS:
Last, but not least in the string of tone controls we come to the BASS . This control works similarly in all three chan-
OUTPUT CONTROL:
The Controls:
(Continued)
BASS
VARIABLE ACCORDING
TO TREBLE & MID CONTROL
IN
CH1
CLEAN
PUSHED
GAIN
TREBLE
REGIONAL TITLES ARE THE SAME FOR ALL 3 BASS CONTROLS
MASTER
MID
HEAD
SOLO
OUTPUT
PRESENCE
BASS
nels in that it determines the amount of low frequencies present in a sound. However, the actual frequencies and style of lows it
mixes in changes from channel to channel. Like the MIDDLE Control, it falls in
line signal-wise after the TREBLE Control and the same scheme applies. When
the TREBLE Control is set high, the effectiveness of the BASS and MIDDLE
Controls is reduced. If the TREBLE Control is set low these two controls become
dominant.
For the most balanced sound and a balance of power between the three rotary
tone controls, try to use the TREBLE Control in its middle ranges. This scenario
produces nearly equal representation of all the frequencies on the tone controls
and provides a great neutral starting point for further tweaking.
This control determines the overall output volume level of the amplifier. After the GAIN Controls
have been set for the desired sound style and the two channels levels have been balanced with the channel MASTER Controls, the
OUTPUT Control allows you to change the playing level by adjusting a single control. The OUTPUT Control is also wired as the Effects
Loop Return Level Control. Should you ever use your Recto as a power amp alone by inserting a signal into the RETURN jack, the
OUTPUT Control will serve as the master level control.
NOTE: When using the EFFECTS RETURN as an input - to use the Recto as a power amp - the
SOLO Control can be used to attain a footswitchable boost if the Footswitch is connected. It is wired
in parallel to the OUTPUT Control and therefore also controls the volume of the power section.
NOTE: The Effects Loop RETURN jack can serve as a power amp input so that you may use the
Recto as a power amp for either stereo reproduction or to incorporate additional pre-amps. Here are a few things to remember that
will help you when interfacing to the Recto for use as a power amp only;
1.) Connect “Dummy” plug or loose cable to SEND jack. (This prevents any possible loading that could result in diminished RETURN
sensitivity.)
2.) The OUTPUT Level will be the only active control on the Front Panel (the PRESENCE Control of Channel 1 will be active only
when that channel is engaged - see #3)
3.) The SOLO Control may be used to footswitch to a pre-determined amount of boost when the footswitch is connected.
4.) Channel 2’s MODERN mode - as part of its voicing - utilizes substantially less negative feedback in the power stage creating a
scenario of greatly increased power sensitivity. This internal revoicing produces amazing results in the lead sounds and requires a
sophisticated network of elements to switch to prevent the increased power sensitivity from blowing you out of the room as you toggle
between Channel 2’s RAW & MODERN modes.
PAGE 9
OUTPUT CONTROL: (Continued)
SOLO CONTROL:
STANDBY:
POWER ON:
The Controls:
(Continued)
HEAD
SOLO
OUTPUT
PRESENCE
BASS
POWER
ON
ON
STANDBY
POWER
ON
ON
STANDBY
POWER
ON
ON
STANDBY
Therefore, we recommend selecting Channel 1 when you wish to use the Recto as a power amp.
The more conventional power sensitivity of this channel will be the most compatible with external sources. Also, using Channel 1 in a
power-only application means that the PRESENCE Control will be active which allows you to tailor the power voicing to your specific
tastes. If you do need the extra sensitivity that Channel 2’s MODERN mode produces for a source that is unusually weak, it is there
if you need it. The PRESENCE Control will not have any effect on the sound as it switches with the mode change to an earlier stage
in the pre-amp.
5.) The EFFECTS MIX Control must be set to 90%.
This control can only be activated if the correct Footswitch is connected to the Footswitch DIN
jack. SOLO is an additional final output level control wired in parallel with the OUTPUT Control. It is capable of a setting above that
of the OUTPUT Control and can not be set below. The amount of apparent boost also depends on that of the OUTPUT Control - in
that if the amplifier is at either the extreme low or extreme high levels of the OUTPUT, its effectiveness is minimized. It has been optimized for live performance volume levels.
If the power section is either not a part of the sound (super quiet), or producing all its rated wattage
(super loud), there is very little signal for the SOLO control to work with. By using the Footswitch and
selecting SOLO, a pre-settable boost in overall levels is possible on the fly...giving you some control
over your levels when it’s time to step out. Engineers may give you a bit of a frown the first time you use it...but isn’t it time you heard
yourself. It might even prevent them from punishing you with the dreaded monitor or sidefill version of your tone.
Perfect for set breaks...this toggle switch also serves an even more important purpose. In the Standby position
the tubes are at idle so that during power up they may warm up before being put to use. Before power is switched on make sure the
STANDBY switch is in the Standby position.
Wait at least 30 seconds and then flip the STANDBY switch to the ON position. This prevents tube problems
and increases their toneful life substantially.
This switch delivers the A.C. power to the Recto. Make sure the unit is grounded (all three terminals of the
A.C. power cord must be connected whenever possible to avoid injury to the user as well as to the unit) and that the proper voltage
is present.
Follow the cold start procedure described in the ON/ STANDBY section above when powering up your new
Recto.
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