Mark III shared EQ?

[pierce34celtic]

Does anyone find any drawbacks to the shared EQ? I've been looking into a Mark III lately, but have heard that it's very difficult to dial in a good clean tone and lead tone at the same time. Are there any tricks to having good tones on all channels simultaneously? Any info would be great.

 

[phyrexia]

I don't think it's hard. You may have to compromise a little. I don't even have an onboard EQ.

 

[edward]

I've been twiddling with my new-to-me Mark III now for several few days straight now and feel like I've finally figured out the shared eq thing. First off, IMHO you MUST get a graphic eq if you want true tone shaping for each channel ...otherwise, you truly will be compromising tone if you plan on channel switching. If you only use one channel throughout a set, then no biggie.

The way I set mine up is to get a superb, no compromises, R1 tone first. Then actuate the Lead channel and experiment with the various "pull deep" and "bright" pull pots to get closer to your tone desired.

Finally, assign the graphic to the Lead channel only, and dial in any fine tuning of bottom, mids, and highs. If you simply think of the Graphic as the Lead channel's tone stack, there need not be any compromises in tone to get the right sound for each channel.

The "trick" here is that you have "deep" switches for R1/R2 as well as the Master (global), and a Bright switch thats global, as well as a Bright for just the Lead channel (seemingly early in the preamp stage), plus a Bright for the Lead master (perhaps later in the signal path). So you pick and choose which "Pull Deep" or which "Pull Bright" you want: one that affects both channels in the first stage of the preamp, one that affects the latter stage, or one that affects only the Lead channel exclusively. There are several permutations here so experimentation, patience, and considerable playing time will get you what you want. If it sounds confusing, it is, sort of. But if you just think about the signal path and how the tone stack is designed, it makes perfect sense ...and is ingenious, really, considering how much these few knobs really can shape the tone. ...Give that Randall S. et.al. a huge hand!!!

So, YES, you can get superb tone from both Ryhthm and Lead channels ...but the R2 tone is fixed so what you get is what you get, depending on how you set the initial gain stage. Those that say you have to compromise one channel's tone to get the other either do not have a graphic eq, or didn't really spend the time to learn her ways. If I may put it this way, I bought my MkIII with a back-burner mindset that I would absolutely sell it if she didn't sound "right" for me as I dont like compromises. And after having played more through it, I think it's staying. BTW, I also did some judicious tube swapping and got more mileage there, too. Hope this helps you.

Edward

 

[ToneAddictJon]

I only had mine for a short while, but it was relatively easy to get a really nice clean and a really nice lead channel, the GEQ really made the lead channel shine. I didn't spend enough time with R2 to really get it sounding good with R1, but I'm sure once you get use to setting them together it becomes easier. The III's are absolutely amazing and versatile amps, even with shared eq.

 

[Fernando]

Remember that you can also, depending on your setup, footswitch the EQ in and out on any channel.

 

[vcamargo99]

I'm with edward on this one. But, I don't use R2 very much because it has too much gain and mids for me. Mainly R1 and Lead. I set no GEQ on R1 (clean or slight breakup ala Fender Bassman) and dedicate the GEQ for Lead. No problem getting 2 fantastic sounds that way. I use 2 modded OD pedals (Keely DS1 and TS7) for additional sounds.

 

[Boogiebabies]

The "trick" here is that you have "deep" switches for R1/R2 as well as the Master (global), and a Bright switch thats global, as well as a Bright for just the Lead channel (seemingly early in the preamp stage), plus a Bright for the Lead master (perhaps later in the signal path). So you pick and choose which "Pull Deep" or which "Pull Bright" you want: one that affects both channels in the first stage of the preamp, one that affects the latter stage, or one that affects only the Lead channel exclusively. There are several permutations here so experimentation, patience, and considerable playing time will get you what you want. If it sounds confusing, it is, sort of. But if you just think about the signal path and how the tone stack is designed, it makes perfect sense ...and is ingenious, really, considering how much these few knobs really can shape the tone. ...Give that Randall S. et.al. a huge hand!!!


The Pull Deep when engaged is on all three channels. The pull bright on the Volume 1 is the bright cap early in the preamp, but really has a minute effect over 8. The lower the Volume 1, the brighter. The pull shift function on the treble raises the treble tone caps from 250pf to 1000 and shifts the entire tone control, but only in lead mode. The pull shift on the bass knob adds a rounder midrange tone. The Pull Bright on the lead channel is a .22uf cathode cap on the second triode of the lead channel and only works in lead mode as well. With the tone stack so early, they not only act as volume controld to some extent, but you may notice shifts in gain with the controls set too low. If you put them all to 0, you will get no signal. It's a Fender tone stack that RCS basically voiced how he wanted it.

 

[Shep]

yeah.. i agree with ed.. pull bright pull treble and pull deep.. thats all that is needed..v the eq and turn the presence down.. fender clean, crunchy rhy2 and sweet heavy lead..

 

[Restless Rocks]

I only use the pull shift on the bass knob when I'm using low output vintage type single coils. Other wise it will mud up your lead tone with hotter humbuckers.

 

[edward]

Thanks, BoogieB, for the specifics/insight into the pull switches' particular tasks! After much experimenting (well, "much" meaning lots of playing in the last two weeks, anyway ), I found it really intersting how interactive and specific these "pull pot" tone shapers are (Marks are new to this old DC guy).

I like the Pull bright at the first volume and keep the one at the Lead Master pushed in ...this way I get the bright, shimmery (yeah, "Fender" chime ) cleans in R1, more detail and definition in R2, and seemingly better sounding gain in Lead than with the bright pulled at the Master. And I also keep the Treb Shift pushed in since the Bright at the earliest stage is enough bite for me.

Similarly, I prefer the Pull Deep on the Bass knob to get a modest global bass boost, but keep the Master Deep switch pushed in ...the Master's "Deep" tone sounds, to my ears, like too much bass everywhere ...every note is too round and I lose some of that bite that I want in the Lead mode.

And presence at zero ...this amp has plenty of brightness and bite ...funny that as I was researching into buying my first Mark III, I had read others complain that the knob is in the rear ...I'm glad it is!

Forgive me for being redundant here, but I am really liking this new world of Mark III tone!! I never thought that so few panel controls could be so powerful and versatile. Sure it needs some mental readjusting as they certainly do no behave as other amps do (no wonder Marks get slammed on other boards). But like a classic 911 that requires a differnt skill-set and understanding to drive fast, I am feeling like I have joined an elite club of Mark-tone glory! Excuse me while I turn off this computer to go plug in

Edward

 

[Vigo1999]

Sure it needs some mental readjusting as they certainly do no behave as other amps do (no wonder Marks get slammed on other boards). But like a classic 911 that requires a differnt skill-set and understanding to drive fast, I am feeling like I have joined an elite club of Mark-tone glory! Excuse me while I turn off this computer to go plug in

Edward

You my friend, pretty much summarize (very well indeed) what a Mark players is . . . :wink: 8)