Specifications

First familiarize yourself with the layout of the Front Panel and locate the LEAD/RHYTHM switch on the rear right side of the chassis.
This switch allows you to select either the top (RHYTHM) channel or the (LEAD) channel. If you don’t have the RHYTHM/LEAD
footswitch connected, this switch will activate the channel switching function. Before we get too specific about each control, let’s
audition the two channels with a basic clean setting in the RHYTHM channel and a medium gain overdriven sound in the LEAD
channel.
Connect your favorite guitar to the instrument input jack. Turn the POWER switch “ON” while leaving the STANDBY switch set to
“STANDBY”. It’s always a good idea to practice this start up procedure, as at least 30 seconds of warm-up time lessens the shock on
cold power tubes, thus prolonging their life substantially. Next, set the controls per this example below:
Flip the STANDBY Switch to the ON position and listen to the two channels using either the footswitch or the Channel Select toggle
switch found on the Rear Panel. Again, these are merely examples of the two channels. Experimentation leads to finding many
different sounds in each channel, and understanding the controls and the way they interact can make this much easier and more fun.
Now that you have heard the MAVERICKS’S two channels, let’s move on to understanding the controls and their interactive roles
in achieving the sounds that you want to hear.
This is by far the most powerful control in each channel. It not only determines the overall Gain amount, shape and sensitivity of the
channel...but it is also a powerful Tone control. Generally speaking, whatever is dialed here ultimately determines the channels
personality. Set low, it allows cleaner, brighter sounds with enhanced dynamic response, especially
in the higher frequencies. Set high the whole personality of the channel becomes darker, fatter and
more overdriven. In the MAVERICK we worked hard to make sure the entire range of Gain available
is usable and more importantly, musical.
Don’t think for a moment that this simple one knob layout limits you as to the amount and texture of gain.
Long neurotic hours were spent to ensure the ranges of gain were stylistically accurate. It’s probably a
good time to mention that most of the great sounds can be found by by setting the VOLUME control
moderately, especially in the LEAD channel...for example, somewhere between
thru . In the RHYTHM channel, try setting this
control somewhere between
thru . Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever
occuring, while at the same time making the two channels easier to balance in volume level and effects send strength.
FRONT PANEL:
POWER-UP:
OUTPUT
LEVEL
INPUT
FOOT
SWITCH
TREBLE MID BASS REVERB
VOLUME
PURE CLASS A POWER
POWERSTANDBY
ON
ON
MASTER
VOLUME: (GAIN)
INPUT
FOOT
SWITCH
VOLUME
CONTROLS:
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