Dusky Mandorla Kullanıcı Kılavuzu - Sayfa 2

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transistor (BJT). All the way up, the Mandorla is a full range monster with bass for days. Use

this knob to tailor an instrument's frequency range to fit into your band's mix.

POWER

The Mandorla may be powered from an internal 9V battery or from an external power supply.

The 9V battery is accessed by removing the four screws that hold on the bottom plate of the

pedal.

The Mandorla can be powered from any power supply intended for use with pedals, which has a

negative tip (the standard) and provides DC voltage anywhere from 9 to 18 volts. You might

notice the Mandorla has a bit more headroom and is a little louder on 18V. It can't hurt to

experiment and see if you have a preference.

DESIGNER'S STATEMENT

What I love about analog circuit design is that simple circuits can have such complex behaviors.

Something like a single tube or a single transistor—in all its classic, nonlinear, imperfect

glory—is, at the end of the day, downright complicated in the way it behaves. And it's those

complexities, those infidelities, those inaccuracies in reproduction that make a circuit musical.

That's where the magic happens.

The concept for the Mandorla was to really play to the inherent, delicious nonlinearity of the

MOSFET transistor and design a circuit that misbehaves in the most beautiful way possible. The

Mandorla doesn't, on its own, produce clipping distortion, although it can certainly push an amp

into overdrive and clipping. The Mandorla d oes produce a lot of harmonic distortion as a result

of its less-than-faithful reproduction of an instrument's signal, and, in a musical context, this just

makes it sound good. It's the same reason tube amps sound so good.

The M eat knob is a crucial element of the design. The ability to control the bass contour of an

instrument's frequency response gives you the ability to find the perfect spot in the frequency

spectrum for your instrument to sit in the overall mix. What some less-experienced guitar

players sometimes don't realize is that, in an ensemble setting, turning down the bass

frequencies on the guitar can help to make both the guitar and the bass more-discernible in the

mix. When each instrument is occupying its own spot in the frequency spectrum, the result is

that the audience can hear more of each instrument in the mix. Of course, with the Mandorla,

you can also have a lot o f bass, if that's what you need. In fact, I use the Mandorla all the time

on bass. I wouldn't hesitate to try it on anything.

I guess what I'm most proud of is that such a simple circuit design—with an equally simple

two-knob user interface—can sound so good and be so versatile. It really can be used in a lot of

different places on a lot of different kinds of instruments. And it really shines in an ensemble

setting where every instrument is trying to be heard.