Owner’s Manual
Hello from the Tone Farm Congratulations on your choice of the MARK V and welcome to the Mesa/Boogie Family! The instrument you’ve selected has a deep heritage that combines the best attributes of vintage tube amplification with pioneering innovation that brings high-gain channel switching performance to a new frontier.
Table of Contents PRECAUTIONS OVERVIEW: FRONT PANEL___________________ 1-4 OVERVIEW: REAR PANEL____________________ 5-6 GETTING STARTED________________________ 7-10 THE CHANNELS: CHANNEL 1________________________________ 11 CHANNEL 2________________________________ 12 CHANNEL 3________________________________ 13 NOTE FROM THE AUTHOR_________________ 14-16 THE MODES: CHANNEL 1: OVERVIEW______________________ 17 CHANNEL 1 : NORMAL / BOLD________________ 17 CHANNEL 1: CLEAN_________________________ 18 CHAN
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.
Operating Instructions Overview: front panel The MARK V is really a collection of amplifiers. There are far too many circuits and sounds to think of it as merely an amp. It is also a living history of our company. From the ground breaking MARK I that introduced the world to high-gain with it’s cascading pre amp, to the Mark II - the world’s first high gain Dual Mode Channel Switching amplifier and it’s later siblings that introduced Simul-Class™ power.
Overview: front panel (Continued) CHANNEL 2 is the transitional channel between the low gain sounds of CHANNEL 1 and the high gain fury of CHANNEL 3. This channel contains the biggest differences between modes and there is definitely dialing required as you toggle through the voicing Modes. A stripped, British-inspired EDGE (switch up) unleashes low to mid gain aggression. Low mids are added for a thicker, throatier CRUNCH sound that travels up the gain scale while retaining a tight attack.
Overview: front panel (Continued) for each Channel’s sound. For example, you might want to use the SLIDERS selection on Channel 3 to craft your own signature lead sound and two different mixes of the PRESET setting on Channels 1 and 2 for your clean rhythm and crunch sounds. The ability to choose between these two options when assigning the Graphic EQ to your sounds gives you ultimate flexibility when dedicating the Channels.
Overview: front panel (Continued) is magic to your ears and to your hands. Simul feels great and is inspiring to play! 10 WATTS reconfigures the whole set of 6L6s so that the two nearest the 5U4 run pure Class A, single-ended—no longer push-pull. This is the ultimate low wattage output circuit that duplicates the essence of the best really old vintage circuits.
Overview: rear panel A four-position CHANNEL SELECT rotary control is provided to access the 3 Channels when the Footswitch is not connected (in the studio) or available. Simply select which of the Channels you wish to play using this control when the footswitch is not in use. When the Footswitch is to be used, select the position to the far right (when facing Rear Panel) labeled FT SW and insert the DIN connector on the Footswitch Cable into the FOOT SWITCH jack on the right side of the Rear Panel.
Overview: rear panel (Continued) A ¼” TUNER OUTPUT is provided and a SILENT TUNING feature has been incorporated so you can tune the instrument on stage without bothering the band or audience. Simply connect your favorite tuner and tap the TUNE the button on the MARK V Footswitch and all sound to the Speaker Outputs is muted.
GETTING STARTED: 1. After unpacking the amplifier, remove the plastic webbing from all the tubes (including the preamp tubes behind the row of big power tubes and the Rectifier tubes. While you’re at it, check to make sure all the tubes are firmly seated in their sockets as some may have loosened a bit during shipping. 2. Connect the A.C. Cord to a grounded (3 pin) A.C. outlet. 3.
GETTING STARTED: HELPFUL HINTS: 1. The Rear Panel CHANNEL SELECT Rotary control must be set to the FTSW (all the way right from rear) position for the Footswitch to trigger the Channels. 2. The OUTPUT and SOLO Controls are active only when the EFFECTS LOOP has been engaged and is in the signal path. When the LOOP is not in use the individual Channel MASTER Controls function as the overall master level controls.
GETTING STARTED: 9. Beware too high of settings on the BASS control in Channels 2 and 3, especially when the GAIN is set high. Too much BASS will produce a flubby, indistinct attack. In the MARK 1 Mode of Channel 2 it is perfectly respectable and even recommended to run the BASS control extremely low (8:30) or even “off” when the GAIN is set high (above1:30). The Modes in Channel 3 can stand a little more BASS, but watch it there as well.
GETTING STARTED: 17. Make Sure The BIAS SWITCH (far right facing Rear Panel) Is Set To Match The Tubes In Use…ALWAYS! It is a good idea to Check This Switch after each time you transport your amplifier as it may get bumped and accidentally switched to an improper setting. NOTE: Running the wrong BIAS setting can damage your amplifier and lead to unnecessary down time and costly repairs. 18.
THE CHANNELS: The three Channels of the MARK V are each extremely versatile and therefore it is not entirely fair to categorize them as to Rhythm, Crunch and Lead. Most players will initially assign Channel 1 to some sort of clean sound, Channel 2 to an overdriven rhythm or chording sound and Channel 3 to a single note solo sound.
THE CHANNELS: (Continued) CHANNEL 2: This “Crossover” Channel contains both the lowest gain of the high gain Modes (EDGE) and one of the highest broad-spectrum gain Modes (MARK I). Channel 2 alone contains more types of sounds than many complete amplifiers and can be assigned virtually any task.
THE CHANNELS: (Continued) CHANNEL 3: This Channel is the overall highest gain in the MARK V and is dedicated to creating the best high gain sounds from the fabled MARK II-C+ and the MARK IV. Though the entire channel is aimed at high gain sounds, many expressive and dynamic medium to low-gain sounds can be found here with the GAIN control set lower (below 12:30). Again, this channel defies classification as to style and is extremely versatile for both low and high gain, chording and single note sounds.
THE CHANNELS: (Continued) NOTE FROM THE AUTHOR: Douglas West A.K.A Tone Boy Randy wanted me to give this bit of info to you personally, even though it felt a bit funny to write “I” as opposed to “we”, so that my personal experience could validate the source. From 1982-1991 I was the person who tested every finished amplifier here at MESA - along with my other duties in R&D, Customer Service and writing Owner’s Manuals.
THE CHANNELS: (Continued) hearing as their reference. It would not do well to set the MARK V permanently to this faster, tighter way. Too many players would have a tough time adjusting and when they compared the two amps side by side, the V would sound faster and tighter yes, but also stripped of sub-low and therefore maybe not as fat in comparison to their trusty II C+ Graphic model or MARK IV - which also had the bigger coupling cap.
THE CHANNELS: (Continued) CAUTION: The EXTREME Mode is LOUD in both these amplifiers…Use Care and Zero out the OUTPUT Level Controls before beginning this comparison SET MARK IV As Follows: Channel 3 (LEAD) LEAD GAIN (FAR LEFT) Pulled and set to 7 ¾ LEAD DRIVE Pulled and set as desired Channel 3 (LEAD) Tone Controls set as desired.
FRONT PANEL: Modes The Modes: Now let’s take a look at the Modes individually to learn more about their applications and focus so that you can dedicate the Channels to what best suits your needs. CHANNEL 1: This is the lowest gain of the three Channels in the MARK V and will cover all your needs for clean rhythm and solo styles as well as and slightly driven chording sounds.
FRONT PANEL: Modes (Continued) CLEAN TWEED EQ ON FAT CLEAN (Mode Select Switch Up): CLEAN is derived from the classic MARK series circuits and puts emphasis on tight, focused clean rhythm and articulate single note playing. This mode has the greatest clean headroom of any mode in the amplifier, and though it can be pushed to clip at extreme settings (4:00 – 5:30), it will remain tighter and somewhat stiffer than it’s FAT counterpart when used for this application.
FRONT PANEL: Modes (Continued) and speakers quite easily by setting the BASS and MID Controls in their higher regions (above 11:30). Even the power section is not immune - as the extra lows will use up power quickly (it takes more wattage to amplify low frequencies) and along with premature clip, you will create a flubby, indistinct sound that is not very pleasing.
FRONT PANEL: Modes (Continued) clipped sounds in TWEED. The shaping power of the EQ can create some amazing Rock rhythm sounds that are tight and aggressive, but huge and blooming at the same time. That combination of not too much gain in the preamp (as compared to the higher gain modes in Channels 2 and 3) and the powerful EQ curves equip you with some kick ass, forward, dynamically-endowed sounds that can really drive the band.
FRONT PANEL: Modes (Continued) EDGE CRUNCH EDGE (Mode Select Switch Up): EDGE is the lowest gain Mode in Channel 2. It starts out virtually clean and starts to clip gradually after 12:00 until it gets aggressive at around 2:30 on up to wide open. EDGE is also the most urgent and dynamic of the Modes in Channel 2. This is largely due to the stripped, tight, low-end character of this circuit that is achieved by voicing the bass frequencies much higher than that of its Channel 2 counterparts.
FRONT PANEL: Modes (Continued) EDGE CRUNCH MARK I (Mode Select Switch Down): This is it! The sound that started it all and put MESA on the map when it burst on the scene back in 1970 aboard the little Boogie combo. This devastating little wolf-in- sheep’s-clothing introduced the world to the first high gain preamp and ushered in the Modern Era of amplification. Before the MARK I, all amplifiers were the same in the sense that they were all about the same gain-wise.
FRONT PANEL: Modes (Continued) CHANNEL 3: Channel 3 is a tribute to the entire line of MARK series Channel Switching amplifiers and contains three circuits from the pinnacle of that architecture. The two most sought after of these, the MARK II-C+ and the MARK IV, provided both the starting points and ultimate reference for this collection of Modes. These two amplifiers share a long and prestigious list of credits and together are responsible for some of the most iconic high gain guitar sounds ever recorded.
FRONT PANEL: Modes (Continued) MARK II-C+ (Mode Select Switch Up): NOTE: The original MARK II-C+ amplifiers had power sections wired in TRIODE configuration. To hear the sound of the original II-C+, set the Rear Panel Channel 3 Power Switch (located below CH. 3 REVERB Control) to TRIODE. See IMPORTANT NOTE at the end of this section for further information.
FRONT PANEL: Modes (Continued) Hints for the C+ Mode might include these: Use the Graphic EQ - SLIDERS or PRESET - if you need extreme low end with high GAIN settings - this comes later in the circuit and will have less tendency to get loose and flubby than that of the rotary BASS control. Work with the GAIN, TREBLE and PRESENCE in finite increments when searching for your ideal lead voice as these interact greatly and have a big effect on pick attack sensitivity and focus.
FRONT PANEL: Modes (Continued) MARK IV (Mode Select Switch Center): This Mode revitalizes the most recent MARK Series amplifier and brings its iconic sound forward for this - and future generations to enjoy with a whole new set of features and a new plateau of versatility.
FRONT PANEL: Modes (Continued) emphasized. In our experience weaker more vintage style pickups accentuate the upper harmonic region and are wonderful for shimmering, bell-like harmonics and clarity in low to medium gain applications. When you are looking for higher gain performance, these types of pickups will present some challenges as all those upper harmonics can get buzzy and thin sounding as the gain increases.
FRONT PANEL: Modes (Continued) EXTREME (Mode Select Switch Down): The last Mode in Channel 3 is named appropriately and is all about more! More gain, more attack, more punishing mids, more tight, huge lows and as you have probably discovered by now, more output volume. EXTREME traces its’ lineage back to a feature on the MARK IV that resided on the Channel 3 (LEAD) PRESENCE control of that amp.
THE EQUALIZER SECTION: All MARK Series amps going all the way back to the MARK I - have included a powerful shaping tool that was in a groundbreaking feature back then - and continues to be one of the trademark components of the MARK Series sound… the 5 Band Graphic EQ. Many of the MARK Series sounds that have become classics were achieved by applying the Graphic EQ and radically altering the somewhat mid-pronounced voice of the MARK sound in favor of a more “scooped” midrange.
FRONT PANEL: (Continued) enhance the great sounds you have crafted with the Modes and other controls and you will always have amazing Tone. NOTE: Some of the Modes work better than others with the EQ and respond better to the radical shaping power with a more harmonious demeanor. Generally speaking, the Modes that have less low end tend to work better and these are usually the ones that have created classic sounds with the EQ in place.
FRONT PANEL: (Continued) 45 WATT (EXTENDED CLASS A, PUSH-PULL): In this setting only the middle pair of 6L6s are on, and it’s these that run in the extended Class A with their bias reduced. Thus, they run a little hotter but also smoother, especially across the threshold into clip without sounding harsh.
FRONT PANEL: (Continued) power tube overdrive. For recording Blues and Classic Rock styles it is hard to beat the raw, urgent clip of the 10 Watt setting when it’s combined with all Modes in Channel 1 and the lower half of the GAIN control settings (10:00 – 1:00) in all of Channel 2. The Single-Ended output also holds up surprisingly well to the higher gain sounds in Channels 2 and 3. It allows you to achieve ridiculous amounts of saturation at very low volume levels and still retain focus and definition.
FRONT PANEL: The Controls GAIN: This is, by far, the most powerful control in the MARK V and its setting determines the style and personality of all three Modes in each of the Channels. It meters the gain in different tube stages depending on the Channel and Mode called up – and it sets Input Stage headroom - which determines whether the sound will be clean or overdriven. It also acts as a subtle Tone control as the tube stages’ gain is increased and decreased and imparts its own “color” on the sound.
FRONT PANEL: The Controls (Continued) CLEAN TWEED EQ ON FAT MASTER: This control determines the overall output level of each Channel and is located at the very end of the preamp. By using it in combination with the GAIN control, any amount of preamp signal strength – gain – (within a Modes’ parameters) can be achieved at any playing volume.
FRONT PANEL: The Controls (Continued) We suggest using the lower to middle range of the PRESENCE (9:00 – 12:30) for the best (most balanced) sound in all of the Modes and venturing outside this only for specific applications – perhaps where you need more of an aggressive top-end point or a darker, more compressed and wider sound. Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this – or any Channel - that has overdrive involved in its makeup.
FRONT PANEL: The Controls (Continued) NOTE: The MARK I Mode in Channel 2 responds well to slightly higher TREBLE settings (1:30 – 2:30) when looking for high gain chording and single note solo sounds. This scheme adds gain in the right place, focus and tighter-tracking pick response.
FRONT PANEL: The Controls (Continued) CLEAN TWEED EQ ON FAT BASS: Much like the MID, the BASS control responds like a typical Tone control and blends in a fairly wide slice of rich bottom end to round out the sound. Internal switching that occurs when the different Modes are selected re-voices both the location and the frequency of bass present for each of the nine circuits (Modes). This difference is crucial to the sounds and a big part of their character.
FRONT PANEL: Features OUTPUT & SOLO: This section determines the overall output level (playing volume) of the MARK V only when the Rear Panel EFX LOOP is engaged (switch up – LOOP ACTIVE position) and the Effects Loop is in the signal path. As mentioned earlier, when the Effects Loop is in HARD BYPASS – switch down, the individual Channel MASTER controls function as the final output control for each individual Channel.
FRONT PANEL: Features (Continued) LED INDICATION: These three LED lights keep you informed of the status of the MUTE, EQ SECTION and EFX LOOP and are illuminated when any of these features are active. This comes in especially handy in larger venues when you may be farther away from your amplifier and need to be informed with a quick glance over the shoulder as to the status of these features. NOTE: The MUTE and EFX LOOP only are active when the EFX LOOP is in LOOP ACTIVE (toggle up) Mode.
REAR PANEL: Features REAR VIEW: MARK V ™ FUSE: This is the A.C.’s (Alternating Current) main fuse and provides protection from outside A .C. fluctuations as well as power tube failure damage. Should the FUSE blow, replace it with the same rating in a Slo-Blo type package. The Domestic 117V and Japanese 100V versions requires a 4 amp Slo-Blo fuse. A power tube short or failure is often the cause of a blown fuse...
REAR PANEL: Features (Continued) To connect your outboard processor(s) to the Effects Loop: 1. Connect the SEND jack on the MARK V Rear Panel to your processor’s INPUT using a high quality shielded cable of the shortest possible length. 2. Connect the RETURN jack of the MARK V to your processor’s OUTPUT also using a high quality shielded cable of the shortest possible length. 3.
REAR PANEL: Features (Continued) SWITCHABLE RECTIFIERS: 45 WATT POWER MODE Switchable Rectifiers makes its debut on the MARK Series for the first time here on the FIVE in the form of patented Rectifier Tracking™. Channels 1 and 2 are fitted with individual mini toggles (located under the Channel 1 and 2 REVERB Controls) that allow you to choose between the tight, bold, higher-headroom response of Silicon DIODES or the saggy, sweet, low-output looseness of TUBES (Tube Rectifier) in the 45 Watt Power Mode.
REAR PANEL: Features (Continued) SPEAKERS: Two 4 Ohm and two 8 Ohm jacks are provided for speaker interfacing. The MARK V is not very sensitive to speaker mismatches and will not be damaged by them, except that very low ohmage loads will cause the power tubes to wear faster. A single twelve-inch 8 Ohm speaker should generally be connected to an 8 Ohm output. When using two 8 Ohm speakers, connect them both to the 4 Ohm outputs provided (because the total load is 4 Ohms in that case.
O FAT CH GAIN TREBLE GAIN TREBLE CH 1 NORMAL BOLD CH 1 NORMAL BOLD CH 1 NORMAL MASTER MID MASTER MID MASTER MID PRESENCE BASS PRESENCE BASS PRESENCE BASS O O O EDGE MARK I EQ ON EQ FS 90 W 10 W EDGE MARK I EQ ON EQ FS 90 W 10 W EDGE MARK I EQ ON 2 CH 45 2 CH 45 FAT CRUNCH 2 CH GAIN TREBLE GAIN TREBLE GAIN TREBLE MARK I NORMAL MARK I THICK MARK I NORMAL MARK I THICK MARK I NORMAL MARK I THICK MASTER MID MASTER MID MASTER MID MK II C+ MK IV 3 CH 45 EXTREME
PAGE 45 10 W 45 1 CH FAT EQ FS 90 W TWEED EQ ON CLEAN 10 W 45 1 GAIN TREBLE GAIN TREBLE INPUT 10 W 45 1 GAIN TREBLE BOLD MASTER MID PRESENCE BASS PRESENCE BASS PRESENCE BASS O O O 10 W EQ FS 90 W EQ ON MARK I EDGE 10 W EQ FS 90 W EQ ON MARK I EDGE 10 W EQ FS 90 W 45 2 45 2 CH 45 2 CH CRUNCH EQ FS 90 W CH 1 NORMAL MASTER MID MASTER MID CH GAIN TREBLE GAIN TREBLE GAIN TREBLE MARK I THICK MARK I NORMAL MARK I THICK MARK I NORMAL MARK I THICK MARK I NO
INPUT O CLEAN TWEED EQ ON EQ FS 90 W 1 CH 45 FAT CH GAIN TREBLE GAIN TREBLE CH 1 NORMAL BOLD CH 1 NORMAL BOLD CH 1 NORMAL MASTER MID MASTER MID MASTER MID PRESENCE BASS PRESENCE BASS PRESENCE BASS O O O EDGE MARK I EQ ON EQ FS 90 W 10 W EDGE MARK I EQ ON EQ FS 90 W 10 W EDGE MARK I EQ ON 2 CH 45 2 CH 45 FAT CRUNCH 2 CH GAIN TREBLE GAIN TREBLE GAIN TREBLE MARK I NORMAL MARK I THICK MARK I NORMAL MARK I THICK MARK I NORMAL MARK I THICK MASTER MID MASTER MI
PAGE 47 10 W 45 1 CH GAIN TREBLE GAIN TREBLE BOLD CH 1 NORMAL BOLD CH 1 NORMAL BOLD MASTER MID MASTER MID MASTER MID PRESENCE BASS PRESENCE BASS PRESENCE BASS O O O 10 W EQ FS 90 W EQ ON MARK I EDGE 10 W EQ FS 90 W EQ ON MARK I EDGE 10 W EQ FS 90 W 45 2 45 2 CH 45 2 CH CRUNCH EQ FS 90 W 45 1 FAT TWEED EQ ON CLEAN 10 W EQ FS 90 W FAT CH GAIN TREBLE CH CRUNCH O O TWEED EQ ON CLEAN 10 W 45 1 EQ ON MARK I GAIN TREBLE GAIN TREBLE GAIN TREBLE MARK
BIAS ADJUSTMENT: (Part of a continuing 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: “Why doesn’t Mesa put bias adjustments in their amplifiers?” Well, there’s a short answer and a long answer to this question. BEAMCONFINING ELECTRODE ( ) .. ..... .. .. . ... .. ... PLATE ( , ) Structure of a 6L6 / 5881 Beam Power Pentode.
BIAS ADJUSTMENT: (Continued) control grids. 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) Again, this has some merit .. but it’s still not as good as using tubes that are matched in the first place because compensating for the mismatch causes the push-pull circuit itself to become unbalanced. Two wrongs don’t really make a right. 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.
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.
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.
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.
V1A-- Input Stage V1B-- 2nd Gain stage CH1/CH3, 3rd Gain Stage CH2 V2A-- 2nd Gain Stage CH2 V2B-- n/a V3A-- 3rd Gain Stage CH1/CH3, 4th Gain Stage CH2 V3B-- 4th Gain Stage CH1 V4A-- Reverb Send V4B-- 2nd Drive stage CH3 V5A-- 1st Drive stage CH3 V5B-- Reverb return V6A-- 4th Gain stage CH3 V6B-- Effects return stage V7A&B-- Driver/Phase inverter PAGE 62
O CLEAN TWEED EQ ON 598792 GAIN TREBLE BOLD 598150 MASTER MID 598380 598148 PRESENCE BASS 598794 FT SW CH 2 CH 3 ON ALL O EDGE MARK I EQ ON EQ FS 90 W 10 W CH 2 45 598739 GAIN TREBLE 598148 EQ SOLO 593734 MASTER MID EFX MK II C+ MK IV CH 3 45 EXTREME EQ ON O EQ FS 90 W 10 W 593734 GAIN TREBLE 598149 CH 3 NORMAL BRIGHT 598152 MASTER MID 598380 LED pt# 394201 SWITCH pt# 607111 3x SWITCH pt# 607233 4x KNOB pt# 408601 598148 PRESENCE BASS 590738 590125 SLIDERS PRESET SLID
NOTES
MESA BOOGIE The Spirit of Art in Technology Thank you for trusting MESA/Boogie to be your amplifier company and 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.
