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LED OVERLOAD (O/L) INDICATOR
If the preamp circuitry is overdriven or clipped, the yellow LED will light. To correct this condition, lower the Gain control. The O/L
monitors the Gain, Aural Enhancer, tone controls and effects loop circuitry.
USING THE TONE CONTROLS
To get the most out of the Tone Controls of your California Blonde, it would be best to first understand how the Aural Enhancer
(Instrument channel only) works, and how it interacts with the
Enhancer as a variable tone curve. As you raise the control from its "0, " or fully counterclockwise position, you are elevating the
whole range of sound (lows, mids, and highs) at frequency points different than those selected for the individual Tone Controls.
This remains true up to about the "2 o'clock" position, at which point selected mids start to drop off. The curves involved here are
gentle, as opposed to the very extreme curves you can create with the Tone Controls. Most significantly for basses, the Enhancer will
help bring out the fundamentals of your lower registers without masking them with overtones, such as the Bass control would. At the
same time, it opens up the sibilance characteristics of all instruments without being harsh.
Most players prefer setting the Aural Enhancer between 10 and 2 o'clock. Try playing a chord and move the Aural Enhancer from one
extreme to the other. You should find a setting that is pleasing to your ear.
TONE CONTROL SECTION
The California Blonde's Tone Control section is a three-band set of level controls centered around the frequencies 80 Hz (
Mid Range
800 Hz (
) and 5kHz (
(center click) position that defeats its function. In this position, the tone controls are inactive.
For each tone control, rotating the knob counter-clockwise from the "center click" position will cut or reduce its designated frequency.
Rotating the knob clockwise will boost its designated band or frequency.
Bass
The
control works in a range that will be useful under most "normal" conditions. Its musical use might be thought of as a
"fatness" control. The overall "punch" of your instrument will be determined with this control. With passive instruments, this will be
straightforward. With active instruments containing bass-boost/cut functions, more exploration will be worthwhile.
Mid Range
The
control operates in a crucial area for most instruments. Many basses (particularly those strung with roundwound
strings) and some pickups for acoustic instruments can have a very "honky" or nasal sound. Dropping the
go a long way toward smoothing out your tone. We suggest, though, that what sounds best when you're listening to your tone by
yourself may not be what works best in a band or when recording. Sometimes that objectionable quality may be just the right "hair"
on your note to still have an audible presence in the track or on stage.
Treble
The
control operates in a tonal area that extends through and beyond the usual treble range. It may be thought of as a
"transparency" control. Over time, we have found this approach to result in a more musically useful treble. Boosting the control will
open up the sound of a dull instrument, particularly in conjunction with the high end super-tweeter in the California Blonde. However, this
is also the range of string rattle, finger slides, pickup clicks, etc. Again, we recommend you experiment with the control alone with your
instrument while finding your tone, and listen again in a band context, both near to and away from the California Blonde. Qualities like
punch, fatness, presence and bite can be fairly well spread out. Treble, despite the broad dispersion of the super tweeter, is a very
directional quality. Spend some time exploring what you can hear in this area as you move around.
EFFECTS BLEND
The effects loop circuitry in the California Blonde is a "side chain" design, the same concept as used in studio mixers and consoles.
Effects Blend
The
control mixes the signal coming from your instrument with the sound coming from your effect. With the
Effects Blend
control fully counter-clockwise, no signal from your effect will be heard. As you turn this control clockwise, more
of the effect can be heard in the overall sound. When the Blend is fully clockwise, no dry or unaffected signal is heard other than the
output of your effects device.
This type of control and patching arrangement is very effective in reducing noise caused by effects units and in maintaining a more
natural sound. If your effects device has a similar control, we suggest leaving it set to its maximum effect/minimum dry signal
Effects Blend
position and using the
Bass
Treble
). Each control can cut or boost its band a maximum of 15dB. Each control has a flat
control for this function. Please read the "Effects Loop" section for more information.
Mid Range
Treble
,
and
controls. Think of the Aural
Bass
Mid Range
control can
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