Did Somebody mention . . . . MESA

gball said:
Definitely agree. Using the sample settings in the manual is an almost essential place to start, then tweak from there until you get used to how the controls interact with each other. Main thing for the Mesas (to me): as the gain goes up, the bass must go down.
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Main reason I use a 50 watt/55Hz speaker. At over 1/2 volume, I can roll up a ton of bass and resonance and maintain total speaker clarity.

Our lead player complains that my 40 watt tube combo is louder than his Carvin full stack, but when he starts cranking it, the tone goes muddy regardless of EQ.
 
BFT Gibson said:
Best thing i ever read on Mesa EQ..worked spot on,,understanding the gain stack make Mesa so tweakable

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He kinda states what I was getting at. The gain knob is the most important tone shaper, and the treble knob kinda adds or takes edge away from it. The bass pretty much always needs to come down as the gain goes up...usually a lot if you are using a big gob of gain (you need to adjust the bass and meds with your ears not eyes). Once you get the hang of it you can dial in about any sound you hear but you just have to remember that everything works a bit different than an F or M style stack.
 
gball said:
He kinda states what I was getting at. The gain knob is the most important tone shaper, and the treble knob kinda adds or takes edge away from it. The bass pretty much always needs to come down as the gain goes up...usually a lot if you are using a big gob of gain (you need to adjust the bass and meds with your ears not eyes). Once you get the hang of it you can dial in about any sound you hear but you just have to remember that everything works a bit different than an F or M style stack.

Can someone tell me why Fender amps react so oddly to EQ adjustments??? The studio where I work has a Blackface and if you adjust the mids EQ, it functions more like a volume control. It's just such a backwards effect when trying to dial them in...
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Dunno. I always take the "everything at noon" approach with a Fender for the most part. Only guess is that since Fender amps have such a pronounced mid-scoop naturally that dialing in extra mids will bring up a lot of frequencies that are not normally present and it has the effect of making the volume seem louder. Just a guess, but TBH I have never found a Fender amp that really got me excited so I have never owned them for very long - best one I ever had was a Silverface Pro Reverb, the 40-watt version of a Twin, but that was such a one-trick pony.
 
gball said:
Dunno. I always take the "everything at noon" approach with a Fender for the most part. Only guess is that since Fender amps have such a pronounced mid-scoop naturally that dialing in extra mids will bring up a lot of frequencies that are not normally present and it has the effect of making the volume seem louder. Just a guess, but TBH I have never found a Fender amp that really got me excited so I have never owned them for very long - best one I ever had was a Silverface Pro Reverb, the 40-watt version of a Twin, but that was such a one-trick pony.
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That's a great explanation. You dial up mids and the volume level changes. Same when you alter the other two bands. I hate using them, but sometimes I get handed a Broadcaster and told to plug into the Blackface...
 
Mitch Pearrow SJMP said:
In the late 70’s before I got my first Marshall!
I had 2 choices, Sunn Concert lead! Fender twin, played them both for a while, then got the
Marshall!!
Never looked back or regretted my choice!
Cheers Mitch
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yeah .i have played primarily M's ....but..as we worked more & more towards music opening up..i got interested in ..what can make the singer stand out...the audience..well they want to hear the singer..i stumbled on the fenders..all them Marshall circuits i just had made to incredible; personal taste...it wasn't until i had em side by side..recorded & heard..i was like..damn..now what....it as like a torn loyalty...but ..i have a job to do..that is the mix for this current situation...found at very nice grind by modding Normal side very aggressive & keeping trem stock-but it has mids..my pro reverb is being used this week..closest thing i have even tried to use scooped...was ever the only guitar player in a band,,the Marshall's had my mids...now i am backing down a lil & prob why the recent change
 
gball said:
One of the reasons I love Mesas so much. The mids are extremely present. Playing by yourself they often sound too mid-forward, but it all makes sense the moment the rest of the band kicks in.
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Mids are my favorite frequency in a band environment, but I also like a lot of bass and resonance, and I cant get that with a conventional speaker. I guess that's why I love the WGS Reaper 55Hz so much.
 
Robert Herndon said:
Mids are my favorite frequency in a band environment, but I also like a lot of bass and resonance, and I cant get that with a conventional speaker. I guess that's why I love the WGS Reaper 55Hz so much.
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you down in bass guitar range,,,do you guys clash ? we had a great discussion in studio yesterday..about coming in prepared.he does a lot of younger drop core, says its such a congested clash..prob why it leads to cookie monster vocal..no room.. my stuff..i try out every amp every guitar before i go in..no loyalty..but to the song..i wuld play my broom into a toaster if it made the song better...my case the SGJ on top p bass..then vocals....100% given absolute mix priority..then i come in with nid boost Rythym over her or a 2nd lead setting to harmonize...on the graph..its all but shelved from the door...no mud no clash..each instrument in range by itself ..My guy says he gets to spend way more time just arranging vs applying filters on everything...i read all year about recording.. took away..if its mixed before you record..its already layered for recording & the stage...i just grab guitars until the right ones fit the song...
 
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