Most feedback in acoustic instruments occurs in the lower registers. If ample volume is not obtained by using the phase switch or changing your position in relationship to the amp, try using the tilt back handle feature on the bottom of the cabinet.You may also try putting the California Blonde on a chair or stand off the floor. 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 Bass, Mid Range and Treble controls. Think of the Aural 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 (Bass), 800 Hz (Mid Range) and 5kHz (Treble). Each control can cut or boost its band a maximum of 15dB. Each control has a flat (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. The Bass 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. The Mid Range 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 Mid Range control can 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. The Treble 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. The Effects Blend 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
4 � CALIFORNIA BLONDE OWNER�S MANUAL
