Hot
British Audio Path
The tone shaping
features of the Hot British will open a world
of great British rock sounds to enliven and inspire
your playing to heroic proportions!
Following the signal flow block diagram above,
first and formost is the TRUE BYPASS signal path.
Devotees of great tone will appreciate that when
the Hot British pedal is disengaged with the footswitch,
the guitar signal will pass directly through to
the amp, even when the unit's power adaptor is
disconnected.
The tone shaping begins with a 3-position MID
BOOST selector switch to select the desired mid-boost
range. The OUT switch position passes the signal
through flat, with no boost. The '7dB' and '12dB'
psitions boosts mids by these amounts, much the
way a hot-rodded Marchall or Hiwatt kicks up the
amount of 'chunk' but without loosing definition
as is typically the case with modded amps.
The DRIVE potentiometer is situated between the
mid-boost and 2nd drive stage to let you fine-tune
the input to get your optimal distortion level.
With the 3-way VOICING
switch comes the power to quickly sculpt a sound.
When used together with the CONTOUR control, the
three VOICING positions allow you to boost or
cut mids from within a wide range – sweeping
the CONTOUR control in each VOICING switch position
will unveil a myriad of inspiring and distinctive
sounds.
For equalization, the Hot British has LOW and
HIGH EQ controls which employ Radial's unique
'passive-interactive' circuit design that combines
musicality with extreme range.
Finally, the TOP END 3-position switch lets you
select between dark, normal and bright to shift
the overall character to suit your amp setup and
playing style.
Using the
Hot British
The following
segment is just a glimpse that will show you some
of the features and functions on the Trimode and
explain how you would use them. Although the Trimode
is extremely versatile, it is in fact very easy
to use. As with any pedals, make sure your amp is
turned off while making connections. Should you
decide to give yourself a Trimode, be sure to read
the complete manual as this will yield the best
results. To get started, we recommend setting the
Trimode knobs as follows:
Note that the
tone controls and filter here are set to 12 o‘clock
in what is commonly known as ‘flat’.
Begin by setting the gain range to the middle position
and set channel-1's input drive to 9 o’clock
and channel-2's drive to 3 o’clock. With this
setting, the rhythm and solo channels will sound
quite different. Now adjust the output of each channel
to a comfortable level. You are now ready to start
experimenting with the dials and functions.
Keep in mind that the controls on the Trimode are
very sensitive and all interact together. This means
that when you add bass or treble, the perceived
loudness will be different – the Trimode is
designed to allow you to create a distinct tone
by working the controls together. Because of the
Trimode’s amazing passive-interactive EQ,
it is almost impossible to find a bad or unusable
tone. Take your time, listen and test the extremes.
This can lead to all kinds of fun settings. It's
useful to record your settings on the 'user settings'
tone chart in the manual so that you can get to
them again. There are so many possibilities –
have fun and experiment!
As previously mentioned, the Trimode’s rhythm
and solo channels have been voiced differently to
maximize their effectiveness. This is supplemented
with separate mid-boost controls for each channel
as well as the Interstage™ gain on the rhythm
channel. By adding saturation and mid-frequencies
to your tone, you will enjoy greater sustain without
necessarily overpowering the rest of the band. This
is one of the most important and beneficial functions
available on the Trimode.
There are several controls that affect the overall
tone and distortion on the Trimode. These include
the input drive range, the EQ, the filter, and the
voicing control. The drive range is set with low,
mid and high drive levels. This control works in
conjunction with each channel's drive gain. If you
plan to have the rhythm channel set with just a
little bit of grind, then you would set this to
low drive. There is sufficient range on the channel
drive controls to get a lot of saturation even when
this setting is on low. You would, of course, use
the channel output levels to provide the gain required
and set the Interstage drive control to balance
the rhythm and lead.
The master voicing control has three settings with
dark, flat and bright. Start with flat, play with
the Trimode’s powerful EQ and then experiment
with this control. You will find that if you have
an overly bright amp, you may end up with a dark
setting. On the other hand, if you are looking for
that big ‘scooped’ chunky tone, you
might increase the bass to 5 o’clock and set
the voicing switch to bright. There are no rules…
just use your ears!
One of the really cool features on the Trimode is
the insert jack. This lets you insert effects into
the solo channel so that when you go from clean
to solo or rhythm to solo you can have an effect,
such as a delay, turn on automatically as part of
the solo tone. Best of all, when you are not in
solo mode, you can turn effects on or off to prepare
your solo tone for a certain passage and with a
single foot stomp, kick in the effect. This is way
cool!
 
Insert
Cable - You'll need one of these
for the effects loop. |
FX
Loop Connections
How to connect your effects using the insert
cable. |
|
