Sounds like you have it backwards...? The part where Cliff says "addictive," he's referring to less negative feedback where the power amp response follows the speaker impedance curve with its scooped mids. If you increase the negative feedback, the speaker impedance has less of an effect on the response of the power amp, so the mids flatten out.But I did notice that when playing in a mix it cut less. Now after reading this, the way I understand it is this is because the EQ spectrum is widened out as you increase it. As Cliff sort of said: It becomes addictive and there is a trade-off. I liken it to a scooped EQ tone. Sounds awesome on its own but doesn't cut.
Ok. I think I may have presented it backwards but you've confirmed what I was trying to convey. Increasing it smooths out or broadens the frequency spectrum which in my case may have an unwanted result of smoothing out the boosted mids. More pleasing to the ears on it's own, but doesn't cut as well. Thanks, Yeky!Sounds like you have it backwards...? The part where Cliff says "addictive," he's referring to less negative feedback where the power amp response follows the speaker impedance curve with its scooped mids. If you increase the negative feedback, the speaker impedance has less of an effect on the response of the power amp, so the mids flatten out.
The US Patent Office does strange things sometimes. Sometimes they check things very closely, other times it seems they are oblivious, and allow people to patent 'prior art'. Mesa has a fair number of things patented that really ought to have been rejected as prior art....I don't get it, the negative feedback is parasitic on the output, not additive...that's backwards from perpetual motion
Bass/mid/treble is part of the tone stack, presence and resonance is part of the power section, a way to tailor high and low response (filtering) at a different point in the chain...when there's so much distortion and cross modulation happening, it makes a big difference to be able to have lots of top end at the front, distort the hell out of it, then filter it back down at the end with something like a negative feedback circuit. If you filtered out the top end at the front, you wouldn't be able to get the desired distortion characteristics, and if you can't filter it out at the end, you face get's ripped off.If we have presence and resonance to control high and low frequencies respectively, then what's the point of bass, mid and treble controls on an amp?
yep. unless there is no negative feedback in the amp and there is still a presence knob. like a mesa dual rectifier in 'modern' mode, there is no negative feedback in that mode, so the presence knob becomes part of the preamp, just another high filter. in 'vintage' or 'raw' mode the presence knob controls power amp negative feedback.Thank you for your response. So does that mean that bass, mid and treble control the preamp and presence and resonance control the power amp?