block diagram from left to right, the Trimode is
designed to provide the serious tone devotee true
bypass performance whereby when the Trimode is disengaged,
the guitar signal will pass directly to the amp,
even when the Trimode's power adaptor is disconnected.
The Trimode's overdrive begins with a 3-position
selector switch that allows the player to select
the desired distortion range. Low distortion will
give you the effect of a small amp driven hard while
the high position will produce a Santana-style sustain
with tons of even harmonics. Most players begin
using the MED position and adjust the drive levels
for the rhythm and lead channels to suit.
The selector switch is situated between the 1st
and 2nd drive stages. This way, each channel may
be adjusted as needed. The Rhythm channel is augmented
with a unique Interstage™ drive gain control,
labeled CH-1 INTERMEDIATE DRIVE, that is factory
set at 12 o'clock. Interstage control allows you
to fine-tune the gain on the rhythm channel to achieve
the perfect balance between the rhythm and lead
modes. This control is recessed to prevent unwanted
accidental adjustment and is accessible through
a port on the side adjacent to the DRIVE-1 control.
Because some players will use the Trimode for two
different solo settings, both the rhythm and lead
channels are equipped with a 3- position mid-range
boost switch. These let you add mild or intense
mid-boost to your signal for added definition and
For equalization, the Trimode is equipped with three
rotary potentiometers. The bass and treble controls
employ Radial's unique 'passive-interactive' circuit
design that combines musicality with extreme range
to let you dial in a wide array of tones. A high-frequency
roll-off control works like an 'anti-presence' and
is used to offset overly bright amplifiers that
can sound 'shrill' when driven at high levels. Finally,
there is a 3-position master voicing switch that
lets you select between dark, normal and bright
to shift the overall character of the Trimode to
suit your amp setup and playing style.
These features, when combined, give you the control
you need to toggle between classic 60's overdriven
amps to today's ultra-thick saturated tones.
segment is just a glimpse that will show you some
of the features and functions of the Trimode and
explain how you would use them. Although the Trimode
is extremely versatile, it is also 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 access
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 the
LOW, MED and HIGH drive gain switch. 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 gain. 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, labeled TOP END, has
three switch settings labeled DARK, FLAT and BRIGHT.
Start with FLAT, play with the Trimode’s powerful
EQ and then experiment with the TOP END switch settings.
You will find that if you have an overly bright
amp, you may end up using the DARK setting. On the
other hand, if you are looking for that big ‘scooped’
chunky tone, you might increase the BASS control
to 5 o’clock and set the TOP END switch to
bright. There are no rules… just use your
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 that turns 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!
Cable - You'll need one of these
for the effects loop.
How to connect your effects using the insert