knotts said:
jbird said:
The mid control in tweed mode is a powerful gain tool!
I've noticed this with CH3 in vintage as well. Is it more pronounced in tweed mode?
Channels 1 and 2 have a Fender-ish EQ right after V1a. The mid control is going to determine which middle frequencies get pushed into V2a hard enough to distort. When it's turned way up, it boosts almost the entire signal and retains a scooped shape, because the part values won't allow the mids to flatten out to the extent of a Marshall-ish tone stack. That's why it boosts almost everything, instead of just making the middle more apparent.
(nerded up)
The large slope resistor keeps the center frequency of the Mid control from rising too far. Since electricity seeks the path of least resistance, the incoming signal will allow more signal to hit the stacked pots via the pico-sized cap on the top, because the cap (obviously) has less resistance than the 100k slope resistor. However the signal passing through all of those pots and the network of caps also increases the dip in the mids. Since that dip is forced to stay dipped and the controls are interactive, it forces the mid control to push the whole curve higher in level.