Mesa Fillmore 50 Owner's Manual
Owner’s Manual
Hello from the Tone Farm
Congratulations on your choice of the FILLMORE™ and welcome to the MESA/Boogie® Family! e instrument you’ve selected has a deep heritage that combines the best attributes
of vintage tube amplication with pioneering innovation that brings high-gain channel
switching performance to a new frontier. One look at the thoroughness of the feature set of
this amplier tells you it’s loaded with inspiring tools, but underneath the hood, the authenticity of these groundbreaking circuits and features (beware imitators) dates back to
our MARK I™ and the very beginning of Modern guitar amplication. So congratulations
on your choice… you should feel a sense of pride that you’re playing an amp like no other,
an original in every way! Just like you!
Our 45+ year commitment to excellence along with our solemn promise to musicians - to
treat each of them as we ourselves would wish to be treated - guarantees you an experience
that will make you feel truly justied in your choice. We’re condent your new amplier
will have you smiling and inspired within minutes of plugging in for the rst time...but
what’s really gratifying is that you will be nding new and inspiring sounds years after the
price of admission has faded from memory and the FILLMORE™ continues to unveil it’s
true worth.
It’s with our sincere thanks for trusting us with your TONE and our best wishes for all your
musical endeavors that we welcome you home. Should you ever need assistance or guidance
we’re here to help. You now have in your hands an instrument of limitless expression. Our
hope is that it takes you and your playing to new and unimagined places throughout your
musical journey. From all of us here at MESA®...Enjoy!
Table of Contents
PRECAUTIONS
OVERVIEW ____________________________________________________________________________________ 1-3
GETTING STARTED ______________________________________________________________________________ 4
HELPFUL HINTS ________________________________________________________________________________ 5
FRONT PANEL
GAIN _________________________________________________________________________________________ 5-6
TREBLE _______________________________________________________________________________________ 6
MID ___________________________________________________________________________________________ 7
BASS _________________________________________________________________________________________ 7-8
PRESENCE ____________________________________________________________________________________ 8-9
MASTER _______________________________________________________________________________________ 9
CHANNEL SELECT ______________________________________________________________________________ 9
MODE SELECT _________________________________________________________________________________ 10
POWER _______________________________________________________________________________________ 10
STANDBY _____________________________________________________________________________________ 10
REAR PANEL
AC MAINS SOCKET _____________________________________________________________________________ 10
FUSE _________________________________________________________________________________________ 11
EFFECTS LOOP (SERIES) _______________________________________________________________________ 11
REVERB FOOTSWITCH __________________________________________________________________________ 11
SPEAKER OUTPUTS ____________________________________________________________________________ 12
FACTORY SAMPLE SETTINGS __________________________________________________________________ 13-14
USER SETTINGS _______________________________________________________________________________ 15
TUBE TROUBLESHOOTING GUIDE ______________________________________________________________ 16-17
SPEAKER HOOKUP GUIDE ____________________________________________________________________ 18-21
TUBE TASK CHART _____________________________________________________________________________ 22
PARTS LIST ___________________________________________________________________________________ 23
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. A polarized plug has two blades with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet,
consult an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally,
or has been dropped.
To insure proper ventilation always make sure there is at minimum four inches (101.6mm) of space behind the rear of the apparatus. The ventilation should not
be impeded by covering the ventilation openings with items, such as newspapers, tablecloths, curtains, etc. Do not impede ventilation by placing objects on top
of the apparatus which extend past the rear edge of its cabinet.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
The AC plug is the mains disconnect. The plug should remain accessible after installation.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Always make sure proper load is connected before operating the amplifier. Failure to do so could pose a shock hazard and may result in damage
to the amplifier.
Do not expose amplifier to direct sunlight or extremely high temperatures.
Always insure the amplifier is properly grounded. Always unplug AC power cord before changing fuse, tubes or removing chassis. Use only same type and
rating when replacing fuse.
Avoid direct contact with heated tubes. Keep amplifier away from children.
To avoid damaging your speakers and other playback equipment, turn off the power of all related equipment before making the connections.
Do not use excessive force when handling buttons, switches and controls. Do not use solvents such as benzene or paint thinner to clean the unit.
Always connect to an AC power supply that meets the power supply specifications listed on the rear of the unit. Export models: always insure unit is wired for
proper voltage. Make certain grounding conforms with local standards.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE!
Your Mesa/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
Operating Instructions
TREBLEGAIN MID BASS PRESENCE REVERB
POWER
STANDBY
ON
ON
MASTER
FT. SW.
DRIVE DRIVE
CHANNEL
CLN HI
CLN HI
TREBLEGAIN MID BASS PRESENCE REVERB MASTER
INPUT
FT. SW.
50W
25W
Fillmore
OVERVIEW
From the other branch of the Boogie® Family Tree comes this new vintage-voiced and styled amplifier featuring–soft clip to saturated–
our most expressive cleans and transitional to medium gain ever presented.
To some this amplifier might seem a collection of contradictions: traditional looking and sounding cabinetry, yet loaded with a fully
featured chassis sporting two identical Channels with 3 powerful Modes each. Basic circuit architecture paying homage to the best
of the 1950s designs, yet modified, updated and hyper-tuned for present day needs and reliability. Hyper-tuned to accentuate the best
of those classic sounds while also delivering higher gain performance rich with that spirit and character. Simplicity of operation that
makes finding your voice near instantaneous and intuitive, yet offering versatility only found in much more feature-laden platforms. To
us though, it’s just an obvious natural step in the evolution of “classic” amplification.
The Fillmore™ is not just another Boogie…it’s a new strand of Boogie DNA. Yet the molecules that make up this soulful sounding
model are really just a revisiting of the Company’s earliest roots. Randall Smith’s very first Boogie’s were based on this architecture.
It was only the success of another “MARK I Experiment” featuring a different branch of the tree used by Carlos Santana on his “Abraxas” album that catapulted that sound and circuit and caused the shelving of circuitry the FILLMORE™ now resurrects with such
beauty and authenticity.
Humbly named in tribute to the renown bi-coastal venues that showcased the biggest names in Classic Rock over decades, this new
instrument has been dubbed super-responsive, nuanced, organic… and vintage-inspired magic by those who’ve experienced it. Subtle
saturation that serves, not smothers, your style.
Don’t wait a moment longer to discover what the MARK Series success inadvertently postponed for so long… you’ve already missed
too many days and nights without inspiration like this. You can come back to this later and get some tips, but we purposefully made
this amplifier the easiest ever wearing our moniker to navigate.
The FILLMORE™ was long Boogie’s best-kept secret and has finally emerged and awaits your touch to ignite a new level of passion
in your playing. We feel confident it’ll take you there.
FRONT VIEW: FILLMORE™ 50
Fillmore
INPUT
FT. SW.
CLN HI
MASTER
CLN HI
DRIVE DRIVE
FT. SW.
CHANNEL
TREBLEGAIN MID BASS PRESENCE REVERB MASTER
50W
25W
TREBLEGAIN MID BASS PRESENCE REVERB
REAR VIEW: FILLMORE™ 50
WARNING:
Unplug power before
servicing fuse or chassis
FUSE
POWER
2.5 A
120 V~
SLO
60 Hz
BLO
2.5 A
SEND
RETURN REV FTSW 8 OHM 4 OHM 4 OHM
Risk of Electric Shock. Do Not Open.
No user serviceable parts inside.
FILLMORE 50
VACUUM TUBE
AMPLIFIER
CAUTION:
MADE IN PETALUMA, CA
WITH THE WORLD’S
FINEST MATERIALS
Replace fuse with same type/rating only.
Do not expose to rain or moisture.
SPEAKERSEFFECTS
WARNING:
™
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5 x 12AX7
2 x 6L6
POWER
STANDBY
ON
ON
IDENTICAL CHANNELS
As you’ve noticed by now, the FILLMORE™ features two identical Channels. Three Modes aimed at covering all your needs, both
clean and overdriven, are provided and virtually every sound imaginable can be found among them.
We’ve found over decades that most players, especially in the stylistic categories the FILLMORE™ aims at, tend to use either slight
variations of the same gain structure or differing gain structures that are closely related sonically. The Fillmore’s identical Channel
platform offers the greatest flexibility in a 2-Channel Footswitchable format for the widest array of styles and players.
One player might use two Channels set to CLEAN and use one for pristine Chording and the other for pushed, soft-clip chording and
single-note work, or perhaps a setting tailored for their favorite overdrive pedals. Another player might set up the classic clean and
overdrive scenario using either of the gain Modes. Yet another might dial up a Crunch Rhythm sound in Channel 1 with DRIVE and
a higher gain Lead voice with HI in Channel 2. Nearly limitless possibilities are supported with the Fillmore’s identical Channel and
Mode complement. It’s up to you to explore them all and dedicate them to the sounds and switchable options that best suit your music,
but best of all is that we’ve made it simple and intuitive to do so.
THE CHANNEL MODES
CLEAN
the 1950s, we’ve managed to get the lower half of the CLEAN Mode to behave more like a 1960s circuit associated with the Blackface
side of California’s long-adored amplifier heritage. Below 1:00 on the GAIN control you’ll find a wide range of beautiful clean sounds
that have ample sparkle and chime to fall under the pristine clean umbrella.
Until the upper end of the CLEAN Mode’s performance is explored for clipped sounds this trick might be taken for granted. However,
when the region of authentic clipped sounds is taken into consideration as you approach 3:00 and beyond, it’s no less than incredible
the chameleon-like response this upper range delivers by comparison. All that crystalline sparkle gives way smoothly to a perfect
top end that doesn’t sound buzzy or thin when it’s clipped and saturated. It’s about as close as one can imagine to sustain without
distortion—something we all dream about—or at least those of us who rely on sustain as an integral part of their solo voice.
The transition zone between these two different “personalities”, 1:00 – 3:00, is where many will find the perfect “Clean” for relying on
the instrument’s volume control to add girth, push and color. This region also behaves really well with overdrive pedals, with enough
top end to keep things open and sweet, but not so much that the overdrive applied from the pedals gets spike-y or adds buzz. This
middle region possesses a nice blend of traits that works well with many different instruments, styles and external overdrive pedals.
Though it is somewhat narrower than the truly clean zone below, or the more gain-rich region above, it nonetheless contains a usable
gradient of low-end and top-end response that should be explored for these popular in-between sounds.
DRIVE
overly-saturated guitar sounds. DRIVE picks up where the CLEAN Mode tops out (actually a little before) and goes almost up to “high
gain” as can be found in the middle region of the HI Mode. However, unlike the rounder, warmer voice of HI, DRIVE features top end
response more reminiscent of a clean channel or mode. This added or “unedited” top end allows the harmonics to come through and
allows for a less compressed response that works extremely well with chordal work and single note soloing with a lot of dynamic content.
While the architecture of the Fillmore’s preamp leans toward the more throaty voice and easier to clip “Tweed” circuits of
Speaking of “in-between”, DRIVE is the quintessential model for this tricky and elusive world of not-quite-clean, but-not-
The DRIVE Mode, like CLEAN, contains more of this unfiltered harmonic content in the lower region of the GAIN Control’s range,
below 12:00. Beyond that, a more overdriven character becomes dominant and eventually, above 3:00, a more saturated sound is
created. Unlike HI, this upper range still retains substantial top end and depending on application, the TREBLE, MID and PRESENCE
become more important if you are looking for smooth single note soloing sounds. Each of these Tone Controls carries top end, including the MID, so you will need to experiment to find the right blend of each. This ratio is perhaps a little less critical for chordal work,
but overall there is a fair amount of harmonics that expose themselves as the GAIN control is increased toward it’s maximum. This
PAGE 2
is purposeful as it allows for overdriven chords to sound “open”, expressive and dynamically unhindered, as is needed for much of
the Indy Rock and “Nashville Clean” styles. You will likely need to run the above three Tone Controls in their lower regions for smooth,
singing, single note soloing.
HI
HI delivers the highest gain of the three Modes in each Channel and like DRIVE, it features a wide range of saturation from
subtle expressive clip to burning overdrive. The overlap between DRIVE and HI is found near its middle region and from there on up,
HI begins to unleash more and more all-tube saturation until, at its maximum, it creates ample sustain, harmonics and compression
for almost anything save for perhaps extreme modern metal sounds. Its whole purpose and sonic signature pays homage to the
very best of the late 70s/early 80s Crunch Rhythm and Lead sounds used on so many records. It rides the line beautifully between
those created by us at MESA/Boogie back in the day and those produced by the classic Brit amps popular in that era. Circuit-wise
HI is all American, remaining closer to the wonderful tweed covered amps hailing from California in the 50s. We have taken our race
shop approach and our usual “tuning”, though we refer to it as “Toning”, to create a veritable beast when things are dialed up past the
12:00 midway point on the GAIN control.
HI is also voiced a bit more rounded off on the top end and the harmonics are shaped to produce better single note response and a
more voice-like character. This voicing excels at single-note soloing and allows a more vocal, pleasing tone for melody work. It can
grind and growl as well, but you may find the TREBLE, MID and PRESENCE set a bit higher to get closer to the voicing of the DRIVE
Mode. At times this may strike you at first listen as choked, rolled off or “not open” sounding, especially when coming from a sound
you’ve created in the DRIVE Mode. This is likely an EQ Hangover, very familiar to us in our line of work. It often occurs when going
from brighter sounds to warmer, darker ones. It also occurs with the midrange frequencies; a sound with very little mids present in
the mix can make a sound with some midrange content intact sound “boxy” or “nasal”. Just give your ears a little time to adjust and
you’ll discover that most sounds have their attributes and it’s all just a matter of recent reference and the application.
Some players find they can use HI as both a clean and overdrive sound simply by rolling up and down the instrument’s volume control.
Depending on the guitar and how bright the pickups sound as the volume pot is rolled back, this is certainly a viable method of attaining both signatures. However, due to the less trimmed harmonics in the DRIVE Mode and depending on the amount of saturation
you need for your optimal overdrive sound, you might find better results in the DRIVE Mode for this approach of using one Mode for
your cover-all gain structure. Don’t forget. While this can, in effect, add an extra sound to your 2 Channel configuration here in the
Fillmore, we did after all include a duplicate Channel so you wouldn’t have to sacrifice one beloved sound for another very often, if ever.
PAGE 3
GETTING STARTED
1. After unpacking the amplifier, 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. Unpack the footswitch and connect it using the mono cable provided to the FT. SW. jack on the far left of the Front Panel.
4. If you have purchased a Head Format, connect your speaker enclosure to the proper matching impedance SPEAKER OUTPUT on
the Rear Panel, most typically to the 8 Ohm SPEAKER OUTPUT jack. An 8 Ohm load is preferable for your first experience with an
amp this dynamic and explosive as you will hear the full power potential and best tonal balance. Combo amplifiers use an 8 Ohm
internal speaker and it should already be connected to the proper impedance SPEAKER OUTPUT. If not, move the speaker cable
to the 8 Ohm SPEAKER OUTPUT jack.
5. Flip the POWER Switch to the ON position while leaving the STANDBY Switch in the STANDBY position for at least 30 seconds.
This allows the filaments to warm up in the tubes before being put to use. Following this cold-start procedure every time you power
up will increase the toneful life of your tubes.
6. If you intend to connect processing devices to the EFFECTS LOOP, do so now. Look up EFFECTS LOOP in this manual for proper
connection and operation. We recommend auditioning the Fillmore without processing for the first time, just to hear the pure sounds
and get to know the amp by itself before adding processing. This also helps tell you if your processing might be robbing anything
sonically from your new amplifier. If the Loop is to be used, check the INPUT levels on your processor to make sure they are in the
medium to lower range so you can increase the level slowly once you have lifted STANDBY on the FILLMORE™ and run through
the Channels to view the SEND level coming from the amp.
NOTE: Pedal type Processors don’t always have an Input Level indicator, some have clip lights, and on either of these types you’ll
need to trust your ears regarding levels
7. Follow the Sample Settings examples below and set the Controls at these approximate settings for a tour through your new world
of TONE. Remember these are just a glimpse at the vast possibilities and are meant to give you a taste of one possible way to set
up your Channels. Feel free to fine tune the sound as you go...you can’t hurt a thing and you will be learning by feel...the best way.
8. Flip the STANDBY to the ON position and enjoy the ride!
INSTANT GRATIFICATION
In case you haven’t yet played your new amplifier, below is just one example of the many ways
to set up the Channels. This example demonstrates a pristine Clean sound in Channel 1 and a medium gain solo sound in Channel 2
Instant Gratication Settings
Fillmore
POWER
STANDBY
ON
ON
INPUT
FT. SW.
CLN HI
MASTER
CLN HI
DRIVE DRIVE
FT. SW.
CHANNEL
TREBLEGAIN MID BASS PRESENCE REVERB MASTER
50W
25W
TREBLEGAIN MID BASS PRESENCE REVERB
PAGE 4
HELPFUL HINTS
NOTE: REDUNDANT INFORMATION: Throughout this Operating Guide you may encounter redundant information and sections that
are repeated for your continued awareness and as reminders. This is done so a person can read only the sections they are interested in and yet still get the important points they should know or NEED to know about the FILLMORE™. We apologize if this gets
annoying for the cover-to-cover reader, but even they may appreciate it some time in the future when referencing this Guide quickly
for a specific topic.
• Beware of high settings on the BASS control in the DRIVE and HI modes, especially when the GAIN is set high. Too much BASS
will produce a flubby, indistinct attack and “slow” the response time. A basic rule regarding the BASS control might be this; As the
GAIN goes up...the BASS should come down.
• The GAIN and TREBLE Controls are the most powerful tone shaping controls in each Mode and should be used with taste. They
determine much about the attack characteristic and the overall personality of the sound in all the Modes. Many of the great sounds
found in all Modes will find these two Controls in their middle ranges.
NOTE: Avoid setting the TREBLE high (above 2:00) when the GAIN is to be set high as this brings about the tendency for a slightly
microphonic tube to ring or squeal.
• Your amplifier will sound better and feel better to play if you have at least one speaker cabinet touching the floor you are standing
on while you play. The coupling effect and especially the transmission of bass frequencies will cause the amp to sound fatter and
the strings to feel more substantial and tangible when the amp (or cab) sits on the floor. Wood floors (like stages) are really great!
Let’s face it... the guitar can be one of those weird instruments that rarely feels the same way two days in a row, night to night, from
room to room... and we can use all the help we can get. This usually helps... with the only exception being a stage filled with too
many live mics...sometimes then you are forced to lift the amp to avoid the coupling effect.
• Use the STANDBY switch every time you power-up (from cold or hot), during set breaks, cable hook-ups and anytime you are not
playing for a few minutes. Doing so will increase the toneful life of your tubes
• Circuits emanating from this “other side” of the MESA Line (as in non-MARK amplifiers) like your FILLMORE™ tend to favor TRE-
BLE and PRESENCE control settings on the lower side for sounds in the warmer domain. Depending on guitar woods, pickups
and technique, don’t be surprised if you find great sounds below 12:00, or even all the way off on the TREBLE and PRESENCE,
with the MID’s broad Q that carries substantial top end providing all the top end cut you need.
• In the FILLMORE™, different and unique top end frequencies are found in the TREBLE, MID and PRESENCE controls. We sug-
gest becoming familiar with what each of these powerful controls bring out or bury in the mix and learn to “swap the top” as you see
fit for different styles, characters, responses and attack center-points. Spending a little time early on with these three powerful Tone
and “dynamic” controls will allow you to dial up sounds quickly and easily and enhance your enjoyment of your amplifier.
FRONT PANEL
GAIN
selected Mode(s). It meters the gain in different tube stages depending on the Mode 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 stage’s gain is increased or
decreased and imparts its own “color” on the sound.
In all the Modes, there are three regions of the GAIN control; a low gain zone between 8:00 - 11:30, a warmer, more saturated zone
from 11:00 - 2:00 and a higher gain zone from 2:30 – 5:00. Each of these zones can be used for many different applications and all
can be used for both chording and single note solo work. As the GAIN control is swept throughout its range it imparts different textures
and tonal characteristics.
This is, by far, the most powerful control in the Tone Control string. Its setting determines the style and personality of the
Generally speaking, the lower end of the control (8:30 – 11:30) in both Channel’s Modes produces a brighter, more open character
that has more dynamic content available. This region is great for clean, sparkling chording in CLEAN, where the maximum headroom
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