- 2 -
In the Lead mode, the Volume knob is intentionally less sensitive so that there is no need to reset it
when switching between the two modes. With most guitars, distortion begins around 2 with a real
nice sounding blues-type tone reminiscent of old Fenders turned up loud. Settings above 3 or 4
produce the more modern and monstrous distortion sounds. Gain and distortion increase slowly as
the Volume setting is increased, often producing the tightest, best-sounding heavy crunch tones
between 7 and 9.
To prevent undesirable squealing, noise and feedback, the Volume should be reduced as playing
loudness - via the Master and Lead Master - is increased.
MASTER This control regulates the power amplifier level and the actual overall loudness. (In Lead
mode, the Master and the Lead Master work together “in series” to perform this function.) If you run
the Volume at 10 and both Masters below 2 (in Lead mode), Grandma can nap in the next room
while you annihilate Manhattan with monstrous metal performance! You'll still get the sound and feel
of big amps cranked way up.
Turning up the Master begins to reveal the .50 Caliber's incredible sound-per-watt capability… it's
noticeably louder than other comparably rated amps! The maximum performance for loud, clean
Rhythm and hot, high-gain Lead playing comes around 5 and 4 on the Volume and Master, with the
Lead Master set between 3 and 4. This puts the amplifier right in the middle of its range for great
sound and easy footswitchability. The taper of the two controls is gradual enough so that dialing in
both great Lead and great Rhythm sounds is quite easy to do.
However, the taper of the Master control gets radical above 5 and begins to unleash the maximum
from your .50's power section. And this power amp has been designed to deliver its greatest crunch
when turned up smoking loud! But you must turn down the Volume as you increase the Master, to
avoid excessive squealing.
When you want to turn down to soft playing levels and continue to footswitch between Lead and
Rhythm, merely turn down the Master. This will preserve the volume balance between the two
modes.
LEAD MASTER
This control affects only the Lead mode; it operates in series with the regular Master
to determine the loudness of the Lead mode in relation to Rhythm. It should generally be adjusted
after setting the Volume and Master controls. Since the Lead Master is located “before” the Effects
Send jack (and the regular Master) in the signal path, it also acts as an effects send level for the
Lead mode.
TREBLE This is the most powerful of the three rotary tone controls. At high settings (7 ½ and
above) it will appear to minimize the effect of the Bass and Middle controls. But they will become the
stronger controls when the Treble is set below 5. For those who split hairs tonally and want the very
best, most bubbly and funky clean tones, you should find the exact spot on the Treble where all three
tone controls are balanced. This will usually be somewhere between 5 and 7.
When playing hard-core crunch, especially at very soft practice volumes, the 50 will usually sound
better with the Treble and Presence set quite high. This will help produce sustain and harmonic
jumps at soft playing levels.
