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Re: Since Carvin is Out of Business, High gain history? and Boogie Question
From Stilletto Manual:
PRESENCE:
The PRESENCE Control is a high frequency attentuator that is placed at the end of each channels pre-amp stage and affects frequencies higher than those of the TREBLE Control. It acts independently of the other rotary tone controls and is crucial in voicing the channel. It is a powerful global tone control. Lower PRESENCE Control settings darken and, in fact compress the signal
BASS MID
which works well to fatten single note solo sounds, giving them girth and focus. Some of the best lead sounds in your Stiletto will find the PRESENCE Control in its lower regions, where a bal- anced, vocal response is achieved.
Higher settings unleash the mighty roar of your Stiletto and this can be great for sparkling clean sounds in Channel 1 and more aggressive crunch rhythm sounds in the high gain modes. Be sure to taunt the beast that lurks in Channel 1 and 2’s CRUNCH mode as the PRESENCE is truly amazing in this most agro mode.[/SIZE]
From Mark V Manual:
This control adjusts high frequencies - above those of the TREBLE - and is located in the power section, farther downstream in the signal path, and not in the preamp. The PRESENCE adjusts a specific zone of frequencies in the negative feedback circuit of the power section that best suit the needs of each individual Mode. The MARK V incorporates substantial circuitry to achieve the complex switching of parts needed to voice each Mode correctly and ensure an adjustable range on the PRESENCE that is sound-style appropriate as well as musically usable.
CLEAN
TWEED EQ ON
CH O
CH 1
NORMAL
GAIN MASTER
PRESENCE
1 90 W
45 10 W
TREBLE MID BASS BOLD
EQ FS
You can think of the PRESENCE as a control that allows you to either clamp the power amp down,
compressing it and darkening things - or open it up and let the full spectrum of upper harmonics come blazing through. It also has a great deal to do with how dynamic the signal is and how a sound will cut through the mix in an ensemble environment.
At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic fluctuation will be limited. As the PRESENCE is increased (11:00 – 2:30), the top end starts to become more dominant and that compression gives way to “cut” and dynamic peaks jump out with startling speed and accuracy. At the top end of the control (2:30 – 5:30), a super aggressive blend of upper harmonics dominate the sound and this region can be somewhat dangerous if it’s not applied in small measures. Higher notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording heavy crunch
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rhythm parts and even then – mostly on parts that feature the lower strings. This region – especially when coupled with the inherent curve of many of the microphones typically used in P.A. (sound reinforcement) applications can be truly punishing.
We suggest using the lower to middle range of the PRESENCE (9:00 – 12:30) for the best (most balanced) sound in all of the Modes and venturing outside this only for specific applications – perhaps where you need more of an aggressive top-end point or a darker, more compressed and wider sound.
Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this – or any Channel - that has overdrive involved in its makeup. Once saturation begins the frequencies carried in the PRESENCE control can make things edgy or brittle... even buzzy, real fast if you aren’t careful. Overdriven chording sounds can tolerate higher settings (10:30 – 12:30) better than can single note sounds, which usually want to roam the zone below 11:00 to stay round, focused and vocal.
NOTE: The EXTREME Mode in Channel 3 radically re-voices the negative feedback in the power section - among its many changes - and inherently contains much more of this upper harmonic region than any of the other Modes.This increase in top-end cut and ag- gression renders the PRESENCE control somewhat less active than in the other Modes because there is so much bite there already in the EXTREME Modes’ character.
NOTE: High settings of the PRESENCE (2:30 – 5:30) can put extra stress on even borderline microphonic preamp tubes (ones that are susceptible to high pitched ringing and noise) and cause them to begin ringing or show other signs of instability. Many tests were run on the set of tubes that shipped in your MARK V to ensure they were stable at the time of construction. However, tubes are not perfect devices – much like light bulbs – and can change over time and become more microphonic. Luckily you can remedy most tube problems with a simple tube swap. Avoid these settings (especially in Combo amplifiers – where the added sympathetic and vibrational forces put even more stress on the tubes) to ensure trouble free performance.
From TC100 Manual:
This control adjusts high frequencies - above those of the TREBLE - and is farther downstream in the signal path than the Tone Controls at the end of the preamp. Unlike a PRESENCE circuit located in the power section, the TC-100 utilizes a preamp roll-off type PRESENCE to maintain a level of urgency and simplicity in the power section for tonal reasons. This is part of its urgent character and ability to hit so hard in the midrange frequencies.
You can think of the PRESENCE as a control that allows you to either clamp the highs down, compressing and darkening things - or open it up and let the full spectrum of upper harmonics come blazing through. It also has a great deal to do with how dynamic the signal is and how a sound will cut through the mix in an ensemble environment.
At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic fluctuation will be limited. As the PRESENCE is increased (11:00 – 2:30), the top end starts to become more dominant and that compression gives way to “cut” and dynamic peaks jump out with startling speed and accuracy. At the top end of the control (2:30 – 5:30), a super aggressive blend of upper harmonics dominate the sound and this region can be somewhat dangerous if it’s not applied in small measures. Higher notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording heavy crunch rhythm parts and even then – mostly on parts that feature the lower strings. This region – especially when coupled with the inherent curve of many of the microphones typically used in P.A. (sound reinforcement) applications can be truly punishing.
Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this or any Channel that has overdrive involved in its makeup. Once saturation begins the frequencies carried in the PRESENCE control can make things edgy or brittle... even buzzy, real fast if you aren’t careful. Overdriven chording sounds can tolerate higher settings (10:30 – 12:30) better than can single note sounds, which usually want to roam the zone below 11:00 to stay round, focused and vocal.
In an earlier post, I quoted the KingSnake manual. So it appears that if Randall Smith designs an amp with a NFB loop, he has the Presence control in the Power Amp section on the NFB loop. If the Presence control is at the end of the Pre-Amp section, then there is no NFB loop.
As you can see with the Mark V, and probably also the Recto's, Extreme channels, The NFB loop is still there, but at a minimum. Which means the switch engages a higher Value Resistor (possibly with a Capacitor as a HPF, so that the Presence control still operates) into the NFB loop.
So maybe there is a minimum amount NFB loop in the Stilletto and Triple Crowns, but without a schematic I wouldn't venture in spending $2500 on that amp.
From Stilletto Manual:
PRESENCE:
The PRESENCE Control is a high frequency attentuator that is placed at the end of each channels pre-amp stage and affects frequencies higher than those of the TREBLE Control. It acts independently of the other rotary tone controls and is crucial in voicing the channel. It is a powerful global tone control. Lower PRESENCE Control settings darken and, in fact compress the signal
BASS MID
which works well to fatten single note solo sounds, giving them girth and focus. Some of the best lead sounds in your Stiletto will find the PRESENCE Control in its lower regions, where a bal- anced, vocal response is achieved.
Higher settings unleash the mighty roar of your Stiletto and this can be great for sparkling clean sounds in Channel 1 and more aggressive crunch rhythm sounds in the high gain modes. Be sure to taunt the beast that lurks in Channel 1 and 2’s CRUNCH mode as the PRESENCE is truly amazing in this most agro mode.[/SIZE]
From Mark V Manual:
This control adjusts high frequencies - above those of the TREBLE - and is located in the power section, farther downstream in the signal path, and not in the preamp. The PRESENCE adjusts a specific zone of frequencies in the negative feedback circuit of the power section that best suit the needs of each individual Mode. The MARK V incorporates substantial circuitry to achieve the complex switching of parts needed to voice each Mode correctly and ensure an adjustable range on the PRESENCE that is sound-style appropriate as well as musically usable.
CLEAN
TWEED EQ ON
CH O
CH 1
NORMAL
GAIN MASTER
PRESENCE
1 90 W
45 10 W
TREBLE MID BASS BOLD
EQ FS
You can think of the PRESENCE as a control that allows you to either clamp the power amp down,
compressing it and darkening things - or open it up and let the full spectrum of upper harmonics come blazing through. It also has a great deal to do with how dynamic the signal is and how a sound will cut through the mix in an ensemble environment.
At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic fluctuation will be limited. As the PRESENCE is increased (11:00 – 2:30), the top end starts to become more dominant and that compression gives way to “cut” and dynamic peaks jump out with startling speed and accuracy. At the top end of the control (2:30 – 5:30), a super aggressive blend of upper harmonics dominate the sound and this region can be somewhat dangerous if it’s not applied in small measures. Higher notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording heavy crunch
PAGE 34
FAT FAT
frOnt panel:tHe COntrOlS (Continued)
rhythm parts and even then – mostly on parts that feature the lower strings. This region – especially when coupled with the inherent curve of many of the microphones typically used in P.A. (sound reinforcement) applications can be truly punishing.
We suggest using the lower to middle range of the PRESENCE (9:00 – 12:30) for the best (most balanced) sound in all of the Modes and venturing outside this only for specific applications – perhaps where you need more of an aggressive top-end point or a darker, more compressed and wider sound.
Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this – or any Channel - that has overdrive involved in its makeup. Once saturation begins the frequencies carried in the PRESENCE control can make things edgy or brittle... even buzzy, real fast if you aren’t careful. Overdriven chording sounds can tolerate higher settings (10:30 – 12:30) better than can single note sounds, which usually want to roam the zone below 11:00 to stay round, focused and vocal.
NOTE: The EXTREME Mode in Channel 3 radically re-voices the negative feedback in the power section - among its many changes - and inherently contains much more of this upper harmonic region than any of the other Modes.This increase in top-end cut and ag- gression renders the PRESENCE control somewhat less active than in the other Modes because there is so much bite there already in the EXTREME Modes’ character.
NOTE: High settings of the PRESENCE (2:30 – 5:30) can put extra stress on even borderline microphonic preamp tubes (ones that are susceptible to high pitched ringing and noise) and cause them to begin ringing or show other signs of instability. Many tests were run on the set of tubes that shipped in your MARK V to ensure they were stable at the time of construction. However, tubes are not perfect devices – much like light bulbs – and can change over time and become more microphonic. Luckily you can remedy most tube problems with a simple tube swap. Avoid these settings (especially in Combo amplifiers – where the added sympathetic and vibrational forces put even more stress on the tubes) to ensure trouble free performance.
From TC100 Manual:
This control adjusts high frequencies - above those of the TREBLE - and is farther downstream in the signal path than the Tone Controls at the end of the preamp. Unlike a PRESENCE circuit located in the power section, the TC-100 utilizes a preamp roll-off type PRESENCE to maintain a level of urgency and simplicity in the power section for tonal reasons. This is part of its urgent character and ability to hit so hard in the midrange frequencies.
You can think of the PRESENCE as a control that allows you to either clamp the highs down, compressing and darkening things - or open it up and let the full spectrum of upper harmonics come blazing through. It also has a great deal to do with how dynamic the signal is and how a sound will cut through the mix in an ensemble environment.
At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic fluctuation will be limited. As the PRESENCE is increased (11:00 – 2:30), the top end starts to become more dominant and that compression gives way to “cut” and dynamic peaks jump out with startling speed and accuracy. At the top end of the control (2:30 – 5:30), a super aggressive blend of upper harmonics dominate the sound and this region can be somewhat dangerous if it’s not applied in small measures. Higher notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording heavy crunch rhythm parts and even then – mostly on parts that feature the lower strings. This region – especially when coupled with the inherent curve of many of the microphones typically used in P.A. (sound reinforcement) applications can be truly punishing.
Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this or any Channel that has overdrive involved in its makeup. Once saturation begins the frequencies carried in the PRESENCE control can make things edgy or brittle... even buzzy, real fast if you aren’t careful. Overdriven chording sounds can tolerate higher settings (10:30 – 12:30) better than can single note sounds, which usually want to roam the zone below 11:00 to stay round, focused and vocal.
In an earlier post, I quoted the KingSnake manual. So it appears that if Randall Smith designs an amp with a NFB loop, he has the Presence control in the Power Amp section on the NFB loop. If the Presence control is at the end of the Pre-Amp section, then there is no NFB loop.
As you can see with the Mark V, and probably also the Recto's, Extreme channels, The NFB loop is still there, but at a minimum. Which means the switch engages a higher Value Resistor (possibly with a Capacitor as a HPF, so that the Presence control still operates) into the NFB loop.
So maybe there is a minimum amount NFB loop in the Stilletto and Triple Crowns, but without a schematic I wouldn't venture in spending $2500 on that amp.
