MESA BOOGIE 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. Our reward is that we've made a classic amplifier and by choosing this amplifier, 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 an archetypal guitar pre-amp, bred of fine all tube amp heritage...
Table of Contents FRONT PANEL: EDITING: PRESETS / PROGRAMS / PARAMETERS_ __________________________________________________________ 1-2 MAPPING: PRESET / PROGRAM____________________________________________________________________________ 2 COPY FEATURE / MODE SELECTION________________________________________________________________________ 3 PROGRAM / CHANNEL WINDOW___________________________________________________________________________ 3-4 CHANGING MIDI CHANNEL___________________________________________
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.
TURN POWER ON AT REAR OF UNIT: The AC Power Switch is a 3 position - center off type switch. Always try the ON/GROUND position first (switch down). If hum is noticed in the sound, then try the ON/LIFT position. Whenever ON/LIFT possible it is best to use the grounded position for many reasons unless having TriAxis grounded creates noise problems such as buzz or AC hum. NOTE: The A.C. power for TriAxis should be derived from the same power strip as that of the power amp in use.
FRONT PANEL: (Continued) TO ACCESS PROGRAMS (via the numeric keys): 1. Press the SHIFT key one time to access the programs. COPY 2. Select PROGRAM using numeric keys located below GAIN, TREBLE, MIDDLE, BASS, and LEAD DRIVE windows. FLASH ENTR PRESET PROGRAM/CHANNEL GAIN TREBLE PGM /CH 0 1 3 2. Press the ENTR key one time to listen to the displayed flashing PRESET.
FRONT PANEL: (Continued) COPY FEATURE: To copy one PRESET to another PRESET location: 1. Choose the PRESET you wish to copy. COPY ENTR 2. Press the SHIFT key and then press key. This “Source” PRESET now flashes four times. FLASH PRESET PROGRAM/CHANNEL GAIN TREBLE PGM /CH EXIT SHIFT 0 1 2 3 3. Select the “Destination” PRESET using numeric keys located below the GAIN thru LEAD 1 DRIVE windows. You will now see the Destination PRESET in the PRESET window. MESA BOOGIE ALL TUBE PREAMPLIFIER 4.
FRONT PANEL: (Continued) PROGRAM / CHANNEL WINDOW: (Continued) NOTE: From Power-up, the Midi Program number last used appears in the PROGRAM / CHANNEL window. To view the current Midi Channel that TriAxis is set to receive Program Change commands on...Press the PGM / CH key below this window. The display changes to the current Midi Channel and the channel number flashes. Press the PGM / CH key to return to the current Midi Program number. REMINDER...
FRONT PANEL: (Continued) RECEIVE: (Loading) To load all of your previously written sounds and information into the TriAxis, the procedure is very simple! COPY 1. Connect storage medium’s Midi Out jack to the TriAxis Midi IN jack. 4 FLASHES 2. Make sure storage medium is set to transmit the correct information (file) PRESET PROGRAM/CHANNEL GAIN 3. Make sure the PRESETS currently in TriAxis are “Backed Up”, as the load you are preparing to do will erase all existing information in the TriAxis memory.
REAR PANEL: PHANTOM POWER: The coax power jack above the A.C. line cord can provide power to a Midi foot controller, through the 7 pin Midi IN jack. This is accomplished by connecting an external A.C. to D.C. power ON/LIFT adapter of correct voltage and polarity for whatever type of foot controller MIDI IN THRU OUT you are using to the coax jack on the rear panel of TriAxis.
REAR PANEL: (Continued) OUTPUT: These A/B jacks provide two outputs, left and right, for interfacing to power amplifiers or directly to your effects units. ON/LIFT MIDI THRU IN RECORD SWITCH 1 OUT OUTPUT A 3 2 4 B OFF ON GROUND FX LOOP: These jacks provide a Mono send and Stereo return effects loop configuration. The LOOP is programmable via the LOOP/SWITCH and ENTER keys located on the Font Panel (see illustration below) and its’ status determined per PRESET.
THE CONTROLS GAIN 0 1 TREBLE MIDDLE 2 4 3 5 LEAD 1 DRIVE BASS 6 7 8 LEAD 2 DRIVE MASTER PRESENCE DYNAMIC VOICE 9 GAIN: This is by far the most critical and powerful of the controls in TriAxis. It not only determines the overall gain amount, shape and sensitivity of each mode...but it is sort of a Tone control as well. Generally speaking, whatever is dialed here ultimately determines the mode’s personality.
THE CONTROLS: (Continued) BASS 6 7 LEAD 1 DRIVE 8 9 LEAD 2 DRIVE BASS: This control blends in the lower frequencies and its’ effectiveness, again, depends on the setting of the TREBLE control. It should be set with moderation as extreme settings in either low or high directions can produce an unbalanced tone. Be especially careful in higher gain settings of all modes except LEAD1 Red.
THE CONTROLS: (Continued) MASTER (Cont.): desired level. This minimizes the possibility of blowing speakers or eardrums in the event the engineer has an extremely sensitive input headroom setting in place at the console. Once again avoid setting the programmable MASTER above 6.0 in the Clean Rhythm modes (Green/Yellow) as high settings here can possibly overload the input stage of the DYNAMIC VOICE control, producing unwanted clipping.
THE CONTROLS: (Continued) the DYNAMIC VOICE) work well with a setting of 1.0 or 2.0. Lead sounds seem to support higher settings of 3.0 through 7.0 with the craziest sounds occurring at 6.5 through 7.0. At settings this high, it will probably be necessary to reduce the programmable MASTER control in order to balance the volume level with other presets that do not use the DYNAMIC VOICE. The DYNAMIC VOICE was designed to complement the LEAD 2 modes in particular.
THE CONTROLS: (Dynamic Voice Continued) NOTE: It is possible, either through a certified phone instructed technician in your area, or by sending your unit directly to us, to re-shape the existing pre-set curve slightly to fit your needs. This is somewhat of a hassle and is not covered under the warranty. (However, if you pay shipping both ways, MESA will do this mod only, free of charge!...for a period of at least one year after your purchase date.
THE MODES The architecture of TriAxis, though vast, is quite simple. Its’ eight pre-amp circuits, or modes as we refer to them, are laid out in three distinct groups. These are Rhythm, LEAD 1 and LEAD 2. Each of these groups consists of pre-amp circuits that share similar circuit architecture, parts, and pre-amp tube stages.However, each mode has unique and specific “bones” that define its’ character, personality, and all tube heritage.
THE MODES: (Continued) Go ahead...Crank it! Rhythm Green loves to rock. With the GAIN Control at 10 and the Midrange also high, this mode is one of the coolest solo sounds around. Reduce the Bass a little and dial in the Treble to set your pick attack, and you have a touch-sensitive lead mode that won’t completely saturate your guitars’ natural sound.
THE MODES: (Continued) Like Green, Yellow Rhythm includes a dynamic bright circuit that transforms the GAIN control into an additional tone control. Again, like Green, the lower the GAIN control is set, the more top-end harmonics are allowed to pass freely. The higher it is set, the less highs are allowed to pass and more lows and mids replace these as the dominant frequencies. Therefore at higher settings, say 6.
LEAD MODES LD 1: This group of three modes is probably the older, more tradition based of the Lead Modes in TriAxis. They all have one thing in common and that is all three are what is referred to in amp freak circles as pre-tone-control gain circuits. This means the boosting of gain by progressively “slamming” the 12AX7 tubes occurs before the tone controls. This method of squeezing gain through the tone controls tends to lend itself to a larger, yet slightly less focused sound.
LEAD MODES: (Continued) GREEN: (Continued) this mode, making sure it had the softest, sweetest clip possible from a group of tubes. We put it up against the tastiest vintage snakeskinned Mark I’s, Deluxes, Super’s, JTM 45’s and any other vintage classic we could borrow or rent and found that Green was in most cases the better sounding of the bunch and in all cases a better feeling on the strings was totally evident.
LEAD MODES: (Continued) for inaccurate playing. We like to think of these modes as having the built in qualities of a good teacher. What you put in is what you get out. However, should you spend much time at all plugged into these modes, we guarantee you will become a master of nuance. These modes are sure to make you a better player if you give them the chance.
LEAD MODES: (Continued) spends enough time to let it...into a virtuoso of feeling, soul, and statement. It growls with ferocity in the low range, staying tight and urgent. A “thonk and chirp” is experienced traveling through the midrange frequencies. Then suddenly, as if someone redialed for the highs, an explosive, yet liquid, top end comes ripping out as you squeeze every luscious note out of the treble strings. Sound almost sexual? Primal? Well many a II-C+ junkie...
LEAD MODES: (Continued) MODES OVERVIEW Now that you’ve read about each mode in depth, you should be more familiar with them and able to choose the appropriate one for your particular style and sound of music. For quick referencing, the names of the modes should be of help to you. REMEMBER... these eight modes are each in and of themselves, complete pre-amplifiers. Each with their own personalities, voices and forte. It’s up to you to decide how to best interface them with your sound and style of music.
VERSION 2.0 CONTINUOUS CONTROL SOFTWARE Your TriAxis now has the Version 2.0 software installed in its’ processor. This software incorporates many improvements, both visible and invisible to the user. Among these, the most exciting is the ability to utilize Midi Continuous Control Messages.
CONTINUOUS CONTROL SOFTWARE: (Lingo Continued) 4. CONTROLLERS: These are “Channels” which information travels upon in the Midi domain. The Midi Specification provides 120 such channels on which information can be sent and received. Some are permanently set for specific functions, others you can use for whatever you decide upon. Each TriAxis parameter can be set to receive on any of these 120 control channels. However, only one controller per parameter may be assigned per PRESET.
CONTROLLER ASSIGN SUB - ROUTINE: (Continued) STEP 2: Choose a Parameter. Press any left or right arrowed key under a parameter display and you will see the corresponding display window begin to flash. For now (because you are most likely dealing with a new unit that has never been programmed) all the parameters are set to Controller 00 (PROGRAM/CHANNEL window).
IMPORTANT TO READ NOW! “RULES OF VALUE” 1. There are fifteen positions of change and it is possible to change in either a negative or positive direction. 2. “00” in the Program Window = No Change from your BASE Preset. 3. BASE! Your Preset is your BASE.
VALUES OF CHANGE: SUB-ROUTINE (Continued) STEP 2: Assign a Value. Start with the first parameter that you assigned a controller to, “TRUST US ON THIS ONE”. Press either the left or right arrowed keys under this parameter. It will start to flash! Now Use the keys under the Program/Channel window to Decrease or Increase the parameter’s maximum modulated VALUE.
Mindblowing! Just watching the display windows changing is worth all you coughed up for this baby, isn’t it? What did you say ? you aren’t getting anything cool...Let us help. First...Make sure you read this whole section carefully and thoroughly. Second...Here is an example of what you can do with the control change software. We’ll take Factory Preset 04 and go from the sparkling clean sound that is the Base Preset and modulate almost everything to produce a low wattage, cranked vintage amp sound.
TUBE LAYOUT and TASKS INSTRUMENT INPUT Back Panel of TriAxis MESA MESA MESA MESA V1 V2 V3 V4 V5 MESA 12AX7A 12AX7A 12AX7A 12AX7A 12AX7A ALL TUBES LEFT SIDE 12AX7A RIGHT SIDE Front Panel TriAxis Top View TUBE ASSIGNMENT DIMENSIONS V1 = LEAD 1 INPUT WEIGHT: 9.5 pounds V2 = INPUT FOR ALL OTHER MODES HEIGHT: 1 rack unit V3 = LEAD AND RHYTHM MIXER DEPTH: 14.3 inches V4 = LEAD 2 V5 = EFFECTS RETURN STAGE .
SUGGESTED WIRING #1 7-PIN SHIELDED CABLE ON/LIFT IN MIDI FOOT-CONTROLLER MIDI THRU SWITCH 1 OUT 3 RECORD OUTPUT A RETURN A OFF 4 2 B FX LOOP SEND INST INPUT B ON GROUND 1 2 3 SHIELDED CABLE 3 2 1 UN-SHIELDED CABLE STEREO SIMUL - CLASS 2: NINETY B INPUTS L I N E INPUT LEVEL A B I N S T MODERN DEEP 3 HALF 1 2 EXTEND DRIVE SPEAKERS A 8 OHMS 4 OHMS 4 OHMS UN-SHIELDED CABLE A B NOTE: BASIC HOOK-UP OF TRIAXIS AND STEREO SIMUL CLASS 2 : NINETY POWER AMP.
SUGGESTED WIRING #2 7-PIN SHIELDED CABLE MIDI FOOT-CONTROLLER ON/LIFT MIDI THRU IN SWITCH 1 OUT 3 RECORD OUTPUT A 4 2 RETURN A B OFF ON GROUND FX LOOP SEND INST INPUT B 1 2 SHIELDED CABLE 3 B A SHIELDED CABLE OUT OUT IN SHIELDED CABLE B A STEREO (MONO) MULTI EFFECTS UNIT MIDI OUT IN L OUTPUT R 3 L INPUT R (MON0) 2 AC POWER 1 SHIELDED CABLE A B 3 2 1 UN-SHIELDED CABLE B INPUTS L I N E INPUT LEVEL STEREO SIMUL - CLASS 2: NINETY A B I N S T MODERN DEEP 3 HAL
SUGGESTED WIRING #3 MIDI FOOT-CONTROLLER 7-PIN SHIELDED CABLE IN ON/LIFT MIDI THRU IN SWITCH 1 OUT 3 RECORD OUTPUT GUITAR TUNER RETURN A 4 2 FX LOOP SEND INST INPUT B OFF ON GROUND 1 2 3 SHIELDED CABLE IN SHIELDED CABLE IN STEREO (MONO) MULTI EFFECTS UNIT MIDI OUT IN L OUTPUT R L 3 INPUT R (MON0) 2 AC POWER 1 SHIELDED CABLE STEREO SIMUL - CLASS 2: NINETY 3 2 1 UN-SHIELDED CABLE B INPUTS L I N E INPUT LEVEL A B I N S T MODERN DEEP 3 HALF 1 2 EXTEND DRIVE SPEAKER
SUGGESTED WIRING #4 GUITAR TUNER MIDI FOOT-CONTROLLER IN 7-PIN SHIELDED CABLE ON/LIFT MIDI THRU IN SWITCH 1 OUT 3 RECORD OUTPUT RETURN A 4 2 FX LOOP SEND INST INPUT B OFF ON GROUND 2 1 "Y" CABLE 3 SHIELDED CABLE SHIELDED CABLE CHANNEL A IN MIDI OUT OUT CHANNEL B IN OUT IN STEREO (MONO) COMPRESSOR/LIMITER SHIELDED CABLE 3 2 L OUTPUT R 1 L INPUT R STEREO (MONO) MULTI EFFECTS UNIT STEREO SIMUL - CLASS 2: NINETY 3 2 1 UN-SHIELDED CABLE B INPUTS L I N E INPUT LEVEL A
SUGGESTED WIRING #5 GUITAR TUNER MIDI FOOT-CONTROLLER IN 7-PIN SHIELDED CABLE ON/LIFT MIDI THRU IN SWITCH 1 OUT 3 RECORD OUTPUT RETURN A 4 2 FX LOOP SEND INST INPUT B OFF ON GROUND 2 1 SHIELDED CABLE 3 "Y" CABLE SHIELDED CABLE CHANNEL A IN MIDI OUT OUT SHIELDED CABLE OUT IN CHANNEL B IN OUT IN STEREO (MONO) COMPRESSOR/LIMITER SHIELDED CABLE 3 2 L OUTPUT R 1 L INPUT R (MONO) STEREO (MONO) MULTI EFFECTS UNIT STEREO SIMUL - CLASS 2: NINETY 3 2 1 UN-SHIELDED CABLE B
SUGGESTED WIRING #6 ON/LIFT MIDI THRU IN SWITCH 1 OUT 3 RECORD OUTPUT RETURN A 4 2 FX LOOP SEND INST INPUT B OFF ON GROUND 2 1 SHIELDED CABLE 3 SHIELDED CABLE 3 2 CH1 CH2 CH3 CH4 CH5 CH6 CH7 CH8 1 MIXER CH1 3 2 1 UN-SHIELDED CABLE B INPUTS L I N E INPUT LEVEL A B I N S T MODERN DEEP 3 HALF 1 2 EXTEND DRIVE CH2 SPEAKERS CH3 CH4 OUT TO TAPE A 8 OHMS 4 OHMS 4 OHMS STEREO SIMUL - CLASS 2: NINETY UN-SHIELDED CABLE B A NOTE: USE OF TRIAXIS IN LINE WITH RECORDER A
SUGGESTED WIRING #7 ON/LIFT MIDI THRU IN SWITCH 1 OUT 3 RECORD OUTPUT RETURN A 4 2 FX LOOP SEND INST INPUT B OFF ON GROUND TO POWER AMP UNSHIELDED CABLE SHIELDED CABLE PEDAL JACK OUT IN POCKET PEDAL TM UNSHIELDED CABLE IN 3 SHIELDED CABLE MIDI OUT OF F.S.
SUGGESTED WIRING #8 ON/LIFT IN MIDI THRU SWITCH 1 OUT 3 RECORD OUTPUT RETURN A 4 2 FX LOOP SEND B INST INPUT OFF ON GROUND SHIELDED CABLE SHIELDED CABLE 3 STEREO CHORUS OUT SHIELDED CABLE SHIELDED CABLE IN OUT SHIELDED CABLE 2 IN 1 STEREO DELAY 3 2 1 UN-SHIELDED CABLE B INPUTS L I N E INPUT LEVEL A B I N S T MODERN DEEP 3 HALF 1 2 EXTEND DRIVE SPEAKERS IN OUT COMPRESSOR A 8 OHMS 4 OHMS 4 OHMS STEREO SIMUL - CLASS 2: NINETY UN-SHIELDED CABLE B A NOTE: HOW
FACTORY PRESET LIST & SETTINGS 1 THRU 5 FACTORY PRESET 01 01 PROGRAM / CHANNEL MODE: Lead 1 Red Classic British Lead / Solo Sound 6.0 6.5 7.5 8.0 GAIN TREBLE MIDDLE BASS 5.5 LEAD 1 DRIVE PICKUP Rear Humbuck 0.0 4.5 5.0 0.0 LEAD 2 DRIVE MASTER PRESENCE DYNAMIC VOICE PGM /CH 0 1 FACTORY PRESET 02 02 PROGRAM / CHANNEL 2 3 4 5 6 7 5.0 4.0 GAIN TREBLE MIDDLE 9 PICKUP Rear Humbuck MODE: Lead 2 Yellow Mk ll - C High Gain Lead 7.5 8 5.0 0.0 LEAD 1 DRIVE BASS 6.
FACTORY PRESET LIST & SETTINGS 6 THRU 10 FACTORY PRESET 06 Vintage Amp Cranked PROGRAM / CHANNEL 10 9.0 GAIN TREBLE MODE: Rhy Green PICKUP Neck Style 1.0 MIDDLE LEAD 1 DRIVE BASS LEAD 2 DRIVE MASTER 4.5 0.0 PRESENCE DYNAMIC VOICE PGM /CH 0 1 2 3 4 5 6 7 FACTORY PRESET 07 Bluesy Mk 1 Lead 07 PROGRAM / CHANNEL 8 9 Neck Humbuck PICKUP Neck Single Coil MODE: Lead 1 Green 8.0 6.0 4.0 3.0 4.5 GAIN TREBLE MIDDLE BASS LEAD 1 DRIVE 0.0 LEAD 2 DRIVE 5.0 3.0 0.
PERSONAL SETTING SHEET PERSONAL SET 1 MODE: GAIN PROGRAM / CHANNEL TREBLE MIDDLE LEAD 1 DRIVE BASS PICKUP LEAD 2 DRIVE MASTER PRESENCE DYNAMIC VOICE PGM /CH 0 1 2 3 4 5 6 7 PERSONAL SET 2 9 PICKUP MODE: GAIN PROGRAM / CHANNEL 8 TREBLE MIDDLE LEAD 1 DRIVE BASS LEAD 2 DRIVE MASTER PRESENCE DYNAMIC VOICE PGM /CH 0 1 2 3 4 5 6 7 PERSONAL SET 3 8 9 PICKUP MODE: GAIN PROGRAM / CHANNEL TREBLE MIDDLE LEAD 1 DRIVE BASS LEAD 2 DRIVE MASTER PRESENCE DYNAMIC V
PERSONAL SETTING SHEET PERSONAL SET 1 MODE: GAIN PROGRAM / CHANNEL TREBLE MIDDLE LEAD 1 DRIVE BASS PICKUP LEAD 2 DRIVE MASTER PRESENCE DYNAMIC VOICE PGM /CH 0 1 2 3 4 5 6 7 PERSONAL SET 2 9 PICKUP MODE: GAIN PROGRAM / CHANNEL 8 TREBLE MIDDLE LEAD 1 DRIVE BASS LEAD 2 DRIVE MASTER PRESENCE DYNAMIC VOICE PGM /CH 0 1 2 3 4 5 6 7 PERSONAL SET 3 8 9 PICKUP MODE: GAIN PROGRAM / CHANNEL TREBLE MIDDLE LEAD 1 DRIVE BASS LEAD 2 DRIVE MASTER PRESENCE DYNAMIC V
COPY ENTR EXIT TRI AXIS FRONT PANEL PROGRAM/CHANNEL 0 GAIN 1 OUT 3 TREBLE 2 1 3 4 RECORD 5 MIDDLE Preset Display Window Program/Channel Display Window Copy / Enter Key PRESET PGM /CH REAR PANEL MIDI THRU SWITCH Numeric Keypads Program/Channel Select Program Up/Down Keys Preset Up/Down Select Exit Key TRI AXIS IN 4 Midi Out Jack pt# 613600 Midi Thru Jack pt# 613600 6 BASS OUTPUT Main Output Jacks pt# 613111 2 Phantom Power Jack pt# 613712 Programmable Loop Switch Jack pt# 61
MESA BOOGIE This manual is meant to get you TONE with the least amount of reading and yet guide you with enough information to become a genuine tweakmaster. We are aware that some players will want even more technical info to wade through. We thought we would save the rest of you hours that might be better spent playing music. However…if you feel you need more help or have serious questions unanswered in this manual…please call us and ask for a product specialist…(707) 778-6565.
The Spirit of Art in Technology (707) 778-6565 FAX NO.
