Mesa-Boogie DC5 User Manual
M
ESA
OOGIE
B
DUALCALIBER DC - 5
Owner's Manual
The Spirit of Art in Technology
1317 Ross Street, Petaluma, CA 94954
USA
Hello from the Tone Farm...
YOU, the 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 archetypical guitar amp bred of fine all tube amp
heritage...benefiting from the many patented pioneering MESA/Boogie circuits that led to
the refinement of your new instrument. Feel confident, as we do, this amp will inspire
many hours of musical satisfaction and lasting enjoyment. It was built with you in
mind, by players who know the value of a fine musical instrument and the commitment
it takes to make great music. The same commitment to quality, value and support we
U
AL
C
ALIBER
TABLE OF CONTENTS
D
Precautions
Overview ______________________________________________________________________________ 1
FRONT PANEL: _________________________________________________________________________ 1
Power-Up ______________________________________________________________________________ 2
CONTROLS:
Gain _______________________________________________________________________________ 2 & 3
Rhythm Channel Pull Boost ______________________________________________________________ 3
Treble _________________________________________________________________________________ 3
Midrange ______________________________________________________________________________ 3
Bass __________________________________________________________________________________ 4
Presence ______________________________________________________________________________ 4
Reverb ________________________________________________________________________________ 4
Master _____________________________________________________________________________ 4 & 5
Graphic EQ ____________________________________________________________________________ 5
Output Level ___________________________________________________________________________ 6
Toggle Switches ________________________________________________________________________ 6
DC
-
5
REAR PANEL: __________________________________________________________________________ 7
Fuse __________________________________________________________________________________ 7
EQ Select ______________________________________________________________________________ 7
Footswitch EQ/REVERB: _________________________________________________________________ 7
FX Loop: Send & Return _________________________________________________________________ 8
FX Mix ________________________________________________________________________________ 8
Recording _____________________________________________________________________________ 8
Silent Recording (speaker mute switch) ____________________________________________________ 8
Slave__________________________________________________________________________________ 9
Speaker _______________________________________________________________________________ 9
Factory Sample Settings ________________________________________________________________ 10
Personal Settings Page _________________________________________________________________ 11
TUBE TECH TALK:
Tube Noise & Microphonics______________________________________________________________ 12
Diagnosing Power Tube Failures _________________________________________________________ 12
Diagnosing Pre-Amp Tube Problems ______________________________________________________ 13
Bias Adjustment, an article by Randall Smith ________________________________________14, 15 & 16
Parts Sheet ___________________________________________________________________________ 17
Your Mesa/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
Do not expose amplifier to moisture, rain or water, direct sunlight or extremely high temperatures.
Always insure that amplifier is properly grounded.
Always unplug A.C. power cord before changing fuse or any tubes
When replacing fuse, use only same type and rating
Avoid direct contact with heated tubes.
Insure adequate air circulation around amplfier.
Keep amplifier away from children.
Be sure to connect to an A.C. power supply that meets the power suplly specifications listed on the
rear panel of the unit.
If there is any danger of lighting occurring nearby, remove the power plug from the wall socket in
advance.
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 in handling buttons, switches and controls.
Remove the power plug from the A.C. mains socket if the unit is to be stored for an extended
period of time.
Do not use solvents such as benzene or paint thinner to clean the unit. Wipe off exterior with soft
cloth.
Be sure to have the warranty card for this product filled out by the store at which it was purchased
and return to Mesa Engineering promptly.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANENT HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding
conforms with local standards.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
DC-5
Operating Instructions
Overview:
Your DC-5 amplifier was designed to deliver maximum performance in a format based on simplicity. Its easy to dial nature allows
each of the two channels to deliver a wide range of sounds in both clean and overdrive styles. The Dual Caliber uses two 6L6 power
tubes to fuel its healthy fifty watt power section. We are pleased by its surprising headroom, yet truly musical “clipability” when
pushed. The DC-5’s pre-amp was no afterthought as you may have deduced by the six 12AX7s tucked snugly away under the swing
away tube clamp. Two separate sets of tubes are used to accomplish the Rhythm and Lead channels. It’s really like having two
separate amplifiers built into one chassis. Ultimate flexibility is achieved by providing two complete sets of Tone and Master controls
as well as the channel assignable 5 Band Graphic Equalizer. Two different sounds can be switched between without compromising
tone or levels.
Looking to the Rear Panel assures that all your interfacing needs are covered. A parallel effects loop with a Mix control provides tone
insurance for even those questionable effects. A recording circuit dialed for direct to board sessions provides accurate reproduction of
the DC-5’s pre-amp. When the session goes late into the night, the silent recording speaker mute switch comes in real handy. To use
the DC-5 in larger rack systems, or to interface to other power sections, the Slave Jack and Level Control is a welcome feature.
Three speaker jacks (one 8 ohm, and two 4 ohm) are provided to ensure the proper impedance match to many types of speaker
enclosures. An auto assign EQ rotary control lets you decide whether the 5-Band graphic enhances the Rhythm Channel, the Lead
Channel, both, or even allows footswitching of the EQ independently. The Reverb can also be footswitched in or out.
As you can see, the DC-5 provides all the features any demanding pro could need and at the same time remains simple to operate.
FRONT VIEW DC-5
PULL BOOST
INPUT
FOOT
SWITCH
0
10
1
2
9
8
3
7
4
6
5
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
0
10
1
2
9
8
3
7
4
6
5
REAR VIEW DC -5
1.25A
FUSE
2.5A SB
RHY
IN
OUT
EQ SELECT
FTSW EQ/REV
0
10
2
3
2
3
1
4
1
4
LEAD
FT SW
2
9
8
3
7
4
6
5
0
10
2
9
8
3
7
4
6
5
SEND
RETURN RECORDING
0
10
1
6
5
0
10
1
6
5
0
10
1
2
9
8
3
7
4
6
5
0
10
1
2
9
8
3
7
4
6
5
0%
FX MIX
0
10
1
2
9
8
3
7
4
6
5
0
10
1
2
9
8
3
7
4
6
5
00
1
%
MUTE SPKR ON
0
1
2
9
8
3
7
4
6
5
0
1
2
9
8
3
7
4
6
5
SILENT RECORDING
0
10
7
10
7
10
1
2
3
4
2
3
4
5
0
1
5
M
9
8
7
6
10
9
8
7
6
80 240 750 2200 6600
ESA
OOGIE
B
0
1
2
3
4
5
OUTPUT
LEVEL
HANDBUILT IN PETALUMA
PATENT APPLIED FOR
10
9
8
7
6
D
UAL CALIBER
9
8
9
8
ON ONRHYTHM
STANDBY POWERLEAD
DC-5
SLAVE
SPEAKERS
8 OHM 4 OHM 4 OHM
PAGE 1
FRONT PANEL:
First familiarize yourself with the layout of the Front Panel and locate the Lead / Rhythm switch on the right side of the chassis, next
to the STANDBY Switch. This toggles you between the top (Rhythm) Channel and the bottom (Lead) Channel. If you don’t have the
Rhythm/Lead Footswitch connected, this switch will activate the channel switching function. Before we get too critical about each
control, let’s audition the two channels with a basic clean setting in the Rhythm Channel and a fairly high gain overdriven sound in the
Lead Channel.
POWER-UP:
Connect your favorite guitar to the instrument input jack. FLIP the power switch “ON” while leaving the standby switch set to “STANDBY”.
(It’s always a good idea to practice this start up procedure) as at least 30 seconds of warm-up time lessens the shock on cold power
tubes, thus prolonging their life substantially. Next set the controls and the Graphic EQ per this example:
PULL BOOST
INPUT
5
5
2
63
4
4
2
ON ONRHYTHM
FOOT
SWITCH
GAIN
TREBLE MID BASS PRESENCE REVERB
6
55
6
224
Flip the STANDBY Switch to the ON position and listen to the two channels using either the footswitch or
the Channel Select toggle switch found on the right side of the Front Panel. The EQ Rotary Control on the
left side of the Rear Panel, controls the EQ assignment. This popular “V” type curve works well in both
Rhythm and Lead Channels, but most players tend to use it more in the Lead Channel, finding the Rhythm
plenty sweet by itself without the use of the EQ. (see page 5 for more information on EQ)
MASTER
OUTPUT
LEVEL
80
240
750
2200 6600
D
UAL
STANDBY POWERLEAD
C
ALIBER
1.25A
FUSE
2.5A SB
DC-5
RHY
IN
OUT
EQ SELECT
FTSW EQ/REV
LEAD
FT SW
Again, these are merely examples of the two channels. Experimentation leads to finding many different
sounds in each channel and understanding the controls and the way they interact, can make this much
easier and more fun. Now lets get specific!
Now that you have heard the DC-5’s two channels, let’s move on to understanding the controls and their interactive roles in achieving
the sounds that you want to hear.
CONTROLS:
GAIN:
This is by far the most powerful control in each channel. It not only determines the overall gain amount, shape and sensitivity of the
channel...but it is also a powerful Tone control. Generally speaking, whatever is dialed here ultimately determines the channels
personality. Set low, it allows cleaner, brighter sounds with enhanced dynamic response, espe-
INPUT
FOOT
SWITCH
PULL BOOST
5
GAIN
4
cially in the higher frequencies. Set high the whole personality of the channel becomes darker,
fatter and more overdriven. In the DC-5 we worked hard to make sure the entire range of Gain
available is usuable and more importantly, musical. Don’t think for a moment that this simple one knob
layout limits you as to the amount and texture of gain. Long neurotic hours were spent to ensure the
ranges of gain were stylistically accurate. It’s probably a good time to mention that most of the great
sounds can be found by setting the GAIN Control moderately, especially in the LEAD Channel. For
PAGE 2
CONTROLS:
GAIN (
)
RHYTHM CHANNEL PULL BOOST:
TREBLE:
MIDRANGE:
(Continued)
continued
example, somewhere between
thru 6. In the RHYTHM Channel try setting this control somewhere between 3 thru
2
8
Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occuring, while at the same time making
the two channels easier to balance in volume and effects send strength.
By now you have probably noticed the top channels’ GAIN Control is fitted with a PULL BOOST. This activates a relay that simultaneously switches several parts internally to produce a great high gain rhythm sound.
PULL BOOST
INPUT
5
This boost transforms the RHYTHM Channel into an over the top crunch channel or a unique and different
lead sound that is more dynamically aggressive and stripped. Pulling this control revoices everything so
that the Gain is dramatically increased and the whole range of upper harmonics is lowered in frequency
FOOT
SWITCH
GAIN
4
and boosted substantially. Check out a setting with control pulled and set to about
isn’t enough gain for you yet...wait....there’s more to come!
. GRINDING? If this
8
As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. Its setting on the DC-5 determines the blend and strength of the MIDDLE and BASS Controls. Set high, it is the dominant control, minimizing the amount of MID
INPUT
PULL BOOST
5
and BASS that would be possible in the mix. Set low, the TREBLE becomes the recessive control
and a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to
produce the best results.
.
FOOT
SWITCH
GAIN TREBLE
5
Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost. In the DC-5 a third over the top crunch
sound was made possible by the inclusion of the RHYTHM Channels dual purpose MID Control. From
is adjusted to act as a very effective MID Control. As you increase the MID to
PULL BOOST
INPUT
2
above, you will hear the lower Mids getting more pronounced and fatter. At about
to about 3 the taper
0
and
4
6
the MID leaves behind the old notion of being a tone control and becomes a truly
usuable gain control. This upper range is a smokin’ addition to the RHYTHM Channel’s
FOOT
SWITCH
GAIN TREBLE MID
GAIN Control for all kinds of higher gain rhythm sounds. Try the MID set high and the
5
GAIN Control at about
for a cool blues solo sound. “Dime” the MID and activate
6
7
the GAIN Control’s Pull Boost for a grinding crunch rhythm sound. If this still isn’t crazy
enough for you...Max the GAIN and TREBLE Controls and set the PRESENCE Control
to
or
0
, turn on the Graphic and give it the old “V” curve and plug into a 4x12 with
1
some Celestion Vintage 30’s or 25’s. This should be sufficently heinous for even the sickest crunch fiends. As you can see, the
versatility that this dual purpose MID control lends to the rhythm channel greatly expands its usefulness as both a clean and overdrive
channel.
NOTE: The lower region of the MID Control determines midrange punch and boldness in lower gain sounds and a smooth vocal
blend in high gain sounds. It can be very effective acting as a “cut through the band control” in certain situations. Remember, settings
of the TREBLE Control greatly affects this controls strength.
PAGE 3
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