Multi-Watt DUAL & TRIPLE Owner’s Manual
Hello from the Tone Farm ...You, smart player and all around intuitive human, have put your trust in us to be your amplifier company. This is something we do not take lightly.By purchasing and choosing this unit to be a part of your musical voice, you have become part of the MESA family...WELCOME! Our goal is to never let you down.Your reward is that you are now the owner of a great amp, bred of fine all tube amp heritage...
IMPORTANT SAFETY INSTRUCTIONS Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug.
Multi-Watt Dual & Triple Rectifier TABLE OF CONTENTS Overview_______________________________________________________________________________1-2 FRONT PANEL CONTROLS Getting Started & Helpful Hints____________________________________________________________2-3 Instant Gratification (3 sample settings)______________________________________________________ 4 CHANNEL MODES Channel 1 (Clean / Pushed)_ _______________________________________________________________ 4 Channel 2 & 3 (Raw, Modern & Vintage)_ _____
Multi-Watt Dual & Triple Rectifier Operating Instructions Overview: Congratulations on your choice of the new Three Channel Dual or Triple Rectifier Head as your amplifier! Their two channel relatives launched a sound back in 1990 that would come to define a musical style and now, 20 years later, are synonymous with high gain guitar. The “Recto” - as it is affectionately known - has found its place in history as a rock ‘n roll icon and seems to be growing in popularity every week.
FRONT PANEL: Controls & Features highest power, keeping the sound tight and percussive and the feel immediate and accurate. To finish off the power choices, the patented BOLD/SPONGY Power switch creates a built-in Variac that enables you to switch the incoming AC line voltage down to approximately 95 volts for additional sag and a “browner” vibe that also loosens up the feel and raises the upper harmonics.
HELPFUL HINTS: 1.) The Rear Panel CHANNEL SELECT rotary switch must be set to FOOTSWITCH for the Footswitch to select either channels or features. 2.) The OUTPUT Control works only when the FX LOOP is activated. Switch out of the Loop Bypass position on the Loop Assign Rotary Control to any of the other 5 positions. 3.) The SOLO Control is activated when the Footswitch is connected to the FOOTSWITCH jack on the Rear Panel and the FX LOOP is activated.
INSTANT GRATIFICATION: Here are some examples of the most popular sounds in the three channels. There are additional sample sounds presented later in this manual, but the possibilities are endless and we encourage you to find your own sounds through experimentation.
CHANNEL MODES: (Continued) CHANNEL 2 + 3 RAW / VINTAGE / MODERN PRESENCE BASS MASTER MID GAIN TREBLE V RAW I N T A G E MODERN CH 2 100 WATT RAW: This mode is the lowest gain of the three in the two high gain lead channels. Its less saturated nature greatly enhances the already versatile bevy of sounds the two original lead channels offered.
CONTROLS: GAIN: This control adjusts the predominant gain stage in each channels’ circuit with the function and taper being optimized for each individual channel. Remember that your Recto is really three separate multi-mode amplifiers built onto one chassis, so though each channel looks identical, the GAIN Control for each channel comes REGIONAL TITLES ARE THE SAME FOR ALL in a different place and adjusts a different point in that channels circuit.
The Controls: (Continued) TREBLE : As in most tube guitar amplifiers, the TREBLE Control (in all three channels of your Recto ) is the most powerful of the rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is first in the signal path of the tone controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control.
The Controls: (Continued) MID : The MID Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as that of the TREBLE Control, it plays an integral part in achieving any sound in your Recto. It is capable of changing the feel dramatically as it blends in a group of frequencies that REGIONAL TITLES ARE THE SAME FOR ALL 3 MID CONTROLS tend to soften or stiffen the way a sound feels to play.
The Controls: (Continued) BASS: Last, but not least in the string of tone controls we come to the BASS . This control works similarly in all three channels in that it determines the amount of low frequencies present in a sound. However, the actual frequencies and style of lows it mixes in changes from channel to channel. Like the MIDDLE Control, it falls in REGIONAL TITLES ARE THE SAME FOR ALL 3 BASS CONTROLS line signal-wise after the TREBLE Control and the same scheme applies.
The Controls: (Continued) Therefore, we recommend selecting Channel 1 when you wish to use the Recto as a power amp. The more conventional power sensitivity of this channel will be the most compatible with external sources. Also, using Channel 1 in a power-only application means that the PRESENCE Control will be active which allows you to tailor the power voicing to your specific tastes.
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EAD REAR PANEL: DUAL RECTIFIER 100 WATT HEAD CH 2 CH 3 CH 1 RECTIFIER SELECT BIAS SELECT FTSW LOOP ON PATENTED 4,211,893; 5,091,700; 5,168,438; 6,621,907; 6,724,897; 7,193,458; 7,602,927 MAIN POWER DIODE SEND LEVEL TUNER OUT 6L6 EL-34 CH 1 CH 2 CH 3 TUBE TRACKING SPONGY BOLD 120 V~ 60 Hz 4A BEST TO USE TUBE TRACKING WITH EL-34s 4A SLO BLO SLAVE CONTROL: This 1/4” jack and control provide a signal derived from the speaker jack.
REAR PANEL: (Continued) FX LOOP: (Continued) 3.) A SEND jack that captures the preamp signal and pads it down to accommodate outboard signal processors input stage. 4.) A RETURN jack that accepts the signal from a processors output and boosts the level back up to unity gain (or beyond) to be mixed back into the original signal. 5.) An OUTPUT Control (Front Panel) that is the effects return stage level control which also doubles as an overall control for the whole amplifier.
REAR PANEL: (Continued) TUNER OUT: This Output jack will enable you to feed a tuner with a clean padded signal derived from the first gain stage. A silent tune feature is engaged when you select TUNER on the Footswitch that mutes the signal to the speakers to allow you to tune the instrument without disturbing the band and audience.
6L6 REAR PANEL: (Continued) BIAS SWITCH: (Continued) MAKE SURE THAT THE BIAS SWITCH IS SET CORRECTLY TO MATCH THE TUBE TYPE THAT YOU ARE USING. Failure to do this will result in tube failure that could possibly burn resistors in the Bias supply. Although this is a fairly simple repair for an authorized technician, it is easily avoidable. ALWAYS CHECK THE BIAS SWITCH setting if you experiment with alternate tube types and you will enjoy uninterrupted performances from your amplifier.
REAR PANEL: (Continued) POWER: SPONGY & BOLD The two different power selections of both the Dual and Triple Rectifier Heads are equally important when looking for a particular sound. “SPONGY” works like a built in Variac, reducing all the internal voltages for a true vintage feeling and that extraordinary “brown sound.” Power is reduced somewhat too, making it easier to achieve MAIN POWER an overdriven power sound, especially when the RECTIFIER SELECT switch is in the VACUUM TUBE position.
FACTORY SAMPLE SETTINGS CHANNEL 1: Sample Setting #1 TITLE: SQUEAKY CLEAN CLEAN PRESENCE BASS MASTER MID GAIN TREBLE SOLO OUTPUT CH3 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE MODERN PRESENCE RAW BASS CH2 V I N T A G E MASTER MID GAIN CH TREBLE 1 PUSHED 100 WATT MODERN INPUT 50 WATT CHANNEL 1: Sample Setting #2 TITLE: BOLD, PUNCHY CLEAN CLEAN PRESENCE BASS MASTER MID GAIN TREBLE SOLO OUTPUT CH3 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE MODERN PRESENCE
FACTORY SAMPLE SETTINGS CHANNEL 2: Sample Setting #1 TITLE: RAW PURR PRESENCE BASS V RAW I N T A G E MODERN MASTER MID GAIN TREBLE SOLO OUTPUT PRESENCE BASS CH3 V I N T A G E RAW MASTER MID GAIN TREBLE CH 2 PRESENCE BASS MASTER MID GAIN TREBLE CH1 CLEAN INPUT 100 WATT MODERN PUSHED 50 WATT CHANNEL 2: Sample Setting #2 TITLE: RAW GRIND PRESENCE BASS V RAW I N T A G E MODERN MASTER MID GAIN TREBLE SOLO OUTPUT PRESENCE BASS CH3 V I N T A G E RAW MASTER MID GAIN TREBLE CH 2 PRESE
FACTORY SAMPLE SETTINGS CHANNEL 3: Sample Setting #1 TITLE: AGRO RHYTHM V RAW I N T A G E MODERN PRESENCE BASS MASTER MID GAIN TREBLE CH 3 PRESENCE BASS MASTER MID GAIN TREBLE 100 WATT SOLO OUTPUT CH2 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE CH1 CLEAN INPUT PUSHED MODERN 50 WATT CHANNEL 3: Sample Setting #2 TITLE: SERIOUS GRIND V RAW I N T A G E MODERN PRESENCE BASS MASTER MID GAIN TREBLE CH 3 PRESENCE BASS MASTER MID GAIN TREBLE 100 WATT SOLO OUTPUT CH2 V I N T
PERSONAL SAMPLE SETTINGS TITLE: CLEAN PUSHED PRESENCE BASS MASTER MID GAIN TREBLE SOLO OUTPUT CH3 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE MODERN PRESENCE BASS CH2 V I N T A G E RAW MASTER MID GAIN TREBLE CH 1 100 WATT MODERN INPUT 50 WATT TITLE: CLEAN PUSHED PRESENCE BASS MASTER MID GAIN TREBLE SOLO OUTPUT CH3 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE MODERN PRESENCE RAW BASS CH2 V I N T A G E MASTER MID GAIN CH TREBLE 1 100 WATT MODERN INPU
PERSONAL SAMPLE SETTINGS TITLE: V RAW I N T A G E MODERN PRESENCE BASS MASTER MID GAIN TREBLE SOLO OUTPUT PRESENCE BASS CH3 V I N T A G E RAW MASTER MID GAIN TREBLE CH 2 PRESENCE BASS MASTER MID GAIN TREBLE CH1 CLEAN INPUT 100 WATT PUSHED MODERN 50 WATT TITLE: V RAW I N T A G E MODERN PRESENCE BASS MASTER MID GAIN TREBLE SOLO OUTPUT PRESENCE BASS CH3 V I N T A G E RAW MASTER MID GAIN TREBLE CH 2 PRESENCE BASS MASTER MID GAIN TREBLE CH1 CLEAN INPUT 100 WATT PUSHED MODERN
PERSONAL SAMPLE SETTINGS TITLE: V RAW I N T A G E MODERN PRESENCE BASS MASTER MID GAIN TREBLE PRESENCE BASS CH 3 MASTER MID GAIN TREBLE 100 WATT SOLO OUTPUT CH2 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE CH1 CLEAN INPUT PUSHED MODERN 50 WATT TITLE: PRESENCE BASS MASTER MID GAIN TREBLE V RAW I N T A G E MODERN PRESENCE BASS CH 3 MASTER MID GAIN TREBLE 100 WATT SOLO OUTPUT CH2 V I N T A G E RAW PRESENCE BASS MASTER MID GAIN TREBLE CH1 CLEAN INPUT PUSHED MODERN
DUAL RECTIFIER RECTIFIER TUBES 5U4G PARTIAL VIEW OF CHASSIS BACK EDGE OF CHASSIS B A V 3 B A V 2 B A V 1 B A TUBE TASK CHART B A V 4 6L6 or EL34 V 5 (5) 12AX7 (Each 12AX7 contains two separate Triodes) V3 B= Same as V3 A V4 A= FX Send V4 B= FX Return Phase Splitter / V5 A= Output V5 B= Description of Tube Functions V1 A= Input Stage all 3 Channels V1 B= Clean Channel V2 A= 2nd Input Stage all Channels V2 B=Channels 2 & 3 Boost Stage V3 A=Channels 2 & 3 Boost Stage PAGE 23
TRIPLE RECTIFIER 5U4G RECTIFIER TUBES PARTIAL VIEW OF CHASSIS B A V 2 B A V 1 B A BACK EDGE OF CHASSIS B A V 3 TUBE TASK CHART B A V 4 6L6 or EL34 V 5 (5) 12AX7 (Each 12AX7 contains two separate Triodes) V3 B= Same as V3 A V4 A= FX Send V4 B= FX Return Phase Splitter / V5 A= Output V5 B= Description of Tube Functions V1 A= Input Stage all 3 Channels V1 B= Clean Channel V2 A= 2nd Input Stage all Channels V2 B=Channels 2 & 3 Boost Stage V3 A=Channels 2 & 3 Boost Stage PAGE 24
TUBE NOISE & MICROPHONICS You may occasionally experience some form of tube noise or microphonics. Certainly no cause for alarm, this quirky behavior comes with the territory and the Tone. Much like changing a light bulb, you don’t need a technician to cure these types of minor user serviceable annoyances and in fact, you’ll be amazed at how easy it is to cure tube problems...
DIAGNOSING PRE-AMP TUBE PROBLEMS: Because your amplifier is an all tube design, it is quite possible that you will at some point experience minor pre-amp tube noise. Rest assured - this is no cause for alarm and you can take care of the problem yourself in a matter of minutes by simply swapping tubes. Let us begin by saying; It is a “very good” idea to keep at least a couple of spare pre-amp tubes on hand at all times to insure uninterrupted performance.
BIAS ADJUSTMENT: (Part of a continuous series) An Article written by Randall Smith that we thought you might find interesting. CATHODE ( ) GRID ( , ) SCREEN GRID ( ) Here’s a question we often hear: ... .... . ... . ... . .... BEAMCONFINING ELECTRODE ( ) PLATE ( , ) “Why doesn’t MESA put bias adjustments in their amplifiers?” Well, there’s a short answer and a long answer to this question. Structure of a 6L6 / 5881 Beam Power Pentode.
BIAS ADJUSTMENT (Continued) Voltage and current are NOT the same. Current is the AMOUNT of electricity, the “quantity” — and is measured in amperes. Voltage is the degree of electric charge — like the “pressure” to use the old water analogy. Let me illustrate how different voltage and current are: When you scrape your feet across a carpeted floor in dry, wintery conditions, your body can become charged with 50,000 to 100,000 volts of static electricity.
BIAS ADJUSTMENT (Continued) Some of the other recommended biasing, “methods” — such as -”.. tubes running red hot, increase the bias .. sounds harsh and runs too cool, turn it down ...” are guesswork at best. Luckily, one of the great things about tube amps is that they can usually stand some abuse without causing any real harm ... at least not immediately.
SPEAKER IMPEDANCE MATCHING & HOOK-UP GUIDE: IMPEDANCE: Wiring up speakers to provide the most effective load and making sure that all of them are in phase will help in creating the best sound possible. This is not too difficult, as long as you understand a few things about loading and how to connect your speakers to provide an optimal resistive load. MESA/Boogie amplifiers can handle 4 and 8 ohms effectively.
SPEAKER IMPEDANCE MATCHING & HOOK-UP GUIDE: (Continued) PARALLEL: When wiring in parallel, the resistance of the speakers decreases. Two 8 ohm speakers wired in (hooked-up) Parallel results in a 4 ohm load. It’s easy to calculate the effect of a resistive load when all the speakers are all the same resistance. It is really not suggested to wire different resistive load values in Parallel (8 and 4, 16 and 8 etc.
WIRING SCHEMES...
6 WIRING SCHEMES...
WIRING SCHEMES...
WIRING SCHEMES...
A look into the inner workings of the Vacuum Tube ON TRIODES, PENTODES & IRISHMEN: With apologies to Friends and Relatives from the Emerald Isle - who will make their appearance soon enough - the humor which follows is dedicated to the memories of Spec McAuliff and Fae (Rafael) McNally, two of the True Greats. As their numerical references suggest, the terms Diode, Triode and Pentode indicate the number of elements within the vacuum tube i.e. two, three or five.
ON TRIODES, PENTODES & IRISHMEN: ( Continued ) Thus a diode tube - one with a cathode and an anode - is mostly used to rectify alternating current into direct current by passing it without restriction, but in one direction only. This also explains why closing time is strictly enforced at Irish pubs: During normal operation, the traffic flow is similarly unimpeded and uni-directional toward the bar and this process rectifies the work-day negativity.
ON TRIODES, PENTODES & IRISHMEN: ( Continued ) PENTODES: (Continued) Thus the proper cocktail waitress - visible through the louvers - is scantily clad so as to be all the more effective at reinforcing the attractive influence of her bar and by being located in between the door and the bar, she serves as bait to lure customers past the door’s negative influence.
150W HEAD 100 WATT HEAD ® POT # 590148 POT # 590148 OUTPUT CH 2 CH 3 POT # 608110 JACK pt# 619112 LOOP ON CH 1 KNOBS pt# 408113 POT # 590736 JACK pt# 613607 CLEAN PUSHED 100 WATT 4A SLO BLO INPUT JACK pt# 610120 LENS pt# 607233 POT # 590792 POT # 590792 POT # 590738 GAIN CH TREBLE 1 50 WATT SWITCH pt# 607231 120 V~ 60 Hz 4A AC RECEPTACLE pt# 613713 BOLD MAIN POWER SPONGY POT # MASTER MID 590148 CH 3 SWITCH pt# 607232 POT # PRESENCE BASS 590736 POT # 590148 DIODE
MESA BOOGIE The Spirit of Art in Technology Thank you ® for trusting MESA/Boogie to be your amplifier company. We wish you many years of toneful enjoyment from this handbuilt all tube instrument.
The Spirit of Art in Technology ® (707) 778-6565 FAX NO.
