User Manual

TIPS ON GETTING OPTIMUM PERFORMANCE FROM THE MEL9
1. The MEL9 is generally best used as the first pedal in an effects chain. Place
modulation, delay, and reverb effects after the MEL9. The unit will not
perform well if placed in the effects loop of a guitar amp.
2. If a guitar’s pickup has a weak output, performance can be improved by
putting a clean boost or a compressor in front of the MEL9. Avoid placing a
distortion or overdrive in front of the MEL9. Placing distortion or overdrive in
front of the MEL9 will muddy up the input signal and cause the tracking to
be unstable. If you want to add overdrive or distortion, place it after the
MEL9.
3. The MEL9 tracking response is limited depending on the preset chosen, and
the type of electronic instrument you use to trigger the effect. On guitar, the
usable range for these sounds goes up to about the 23rd fret on the high-E
for some presets, and to only the 16th fret for others. On bass guitar, the
MEL9 tracks only about as low as the open A-string.
4. The MEL9 imitates Mellotron
®
sounds, so the MEL9 will only sound as real
for any of the nine instruments as the Mellotron
®
does. For example, the
FLUTE preset is the same as the Mellotron’s flute which is a recording of a
real flute.
5. Pay attention to performance gestures (vibrato, trills, slides, and so on) and
the settings for ATTACK and SUSTAIN. If you want to mimic a Mellotron
®
,
play pianistically with as little guitar inflection as possible. If you want to
simulate an actual sound such as a cello, adapt your performance gestures
to help mimic the actual sound. Otherwise, let your creativity guide your
approach to playing the MEL9. And that means you should feel free to go
wild by combining atypical performance techniques with traditional sounds.
So what if an actual clarinet does not let you bend a note up a whole tone
or more? Now you can go for it!