Roadster Tweed Settings

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knotts

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I know that plenty of members love the tweed setting on CH1. I'm curious to know what settings you might recommend for various styles of music. I've played with tweed a little bit before but I wasn't bonding with it and since have abandoned it. I'm thinking about experimenting again and wanted to some insight.
 
I use it for my clean tones:
Gain 9:30
Treble 12:00
Mid 9:30
Bass 12:00
Presence 12:00
100 Watt
Tube Rectifier
Reverb almost maxed (it has to be in tweed mode to hear it at all)

For a light crunch:
Gain 1:00
Treble 1:00
Mid 10:00
bass 11:00
Presence 11:00
50 Watt
Tube Rectifier
 
LithiumZero said:
I use it for my clean tones:
Gain 9:30
Treble 12:00
Mid 9:30
Bass 12:00
Presence 12:00
100 Watt
Tube Rectifier
Reverb almost maxed (it has to be in tweed mode to hear it at all)

For a light crunch:
Gain 1:00
Treble 1:00
Mid 10:00
bass 11:00
Presence 11:00
50 Watt
Tube Rectifier

Thanks LithiumZero. I'm getting a nice pushed clean through CH2 in Brit mode (believe it or not) so I'm primarily interested in the crunch sound with tweed. Looking forward to trying it out. My roadster rig stays at our rehearsal space so I don't get a ton of time to experiment.
 
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?
 
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.
 
afu said:
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.
Thanks for the detailed explanation. Although I'm technically inclined in many areas, I never took an electronics class and have a rudimentary understanding of electronic circuits. That being said, I was able to follow your explanation so it was quite clear. Much appreciated.
 

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