Mesa Boogie Dual Caliber DC-10 User Manual
M
ESA
OOGIE
B
D
U
AL
C
ALIBER
DC
-
10
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
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 designed and built another fine guitar amplifier that is destined to become a
classic. 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...benefiting from the many pioneering and patented Mesa 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 make to you...our new friend.
Your MESA/Boogie Amplifer 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 temperaturres.
Always insure that amplifier is properly grounded.
Always unplug AC power cord before changing fuse
or any tubes.
Avoid direct contact with heated tubes.
Insure adequate air circulation behind amplifier.
Keep amplifier away from children.
Besure to connect to an AC power supply that meets
the power supply specifications listed on the rear
panel of the unit.
If there is any danger of lightning 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 control buttons, switches and controls.
Remove the power plug from the AC mains socket if
the unit is to be stored for an extended period of
time.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANENT HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel. Always unplug
AC POWER BEFORE REMOVING CHASSIS.
EXPORT MODELS: Always insure that the unit is wired for the proper voltage.
Make certain grounding conforms with local standards.
READ AND FOLLOW ALL INSTRUCTIONS OF PROPER USAGE.
Precautions __________________________________________________________________________ 0
FRONT PANEL: Description & Usage_____________________________________________________ 1
Gain ________________________________________________________________________________ 2
Treble _______________________________________________________________________________ 3
Mid _________________________________________________________________________________ 3
Bass ________________________________________________________________________________ 3
Presence ____________________________________________________________________________ 4
Reverb ______________________________________________________________________________ 4
Master ______________________________________________________________________________ 4
Graphic EQ __________________________________________________________________________ 5
Mode Select __________________________________________________________________________ 5
Level Control_________________________________________________________________________ 5
Toggle Switches: 100 / 60 WATT: ON / STANDBY: A.C. POWER: _____________________________ 6
BACK PANEL: Description & Usage
A.C. Receptacle_______________________________________________________________________ 7
Fuse ________________________________________________________________________________ 7
Headphone Out _______________________________________________________________________ 7
EQ Assign ___________________________________________________________________________ 8
Recording ___________________________________________________________________________ 8
FX Loop: Send & Return _______________________________________________________________ 8
FX Mix ______________________________________________________________________________ 8
Reverb & Footswitch __________________________________________________________________ 9
Silent Recording ______________________________________________________________________ 9
Slave Out ____________________________________________________________________________ 9
Speakers ____________________________________________________________________________ 9
Factory Sample Settings ______________________________________________________________ 10
Personal Settings Page _______________________________________________________________ 11
Tube Task Chart _____________________________________________________________________ 12
Tube Noise & Microphonics ___________________________________________________________ 13
Diagnosing Power Tube Failure ____________________________________________________ 13 & 14
Diagnosing Pre-Amp Tube Problems ____________________________________________________ 15
Bias Adjustment ____________________________________________________________ 16 & 17 & 18
Parts Sheet _________________________________________________________________________ 19
DC-10
Operating Instructions
Overview:
Your DC-10 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. This Dual Caliber
uses four 6L6 power tubes to fuel its healthy one hundred watt power section. We are pleased by its surprising headroom, yet truly
musical “clipability” when pushed.
The DC-10’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 that can produce 4 different switchable sounds 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.
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-10’s pre-amp. When the session goes late into the night, the SILENT RECORDING MUTE switch comes in
real handy. To use the DC-10 in larger rack systems, or to interface to other power sections, the SLAVE jack and LEVEL control are
welcome features.
Three combinations of speaker jacks (one 16 ohm, two 8 ohm and two 4 ohm) are provided for proper impedance matches to the
many different types and makes (brands) of speaker enclosures. The mini-toggle switch located next to the fuse on the rear panel,
enables you to decide whether the 5 BAND GRAPHIC EQ enhances the RHYTHM & LEAD channel, the LEAD channel only, or an
assignable position that can be remotely controlled via the footswitch. The REVERB can also be footswitched in or out.
As you can see, the DC-10 provides all the features any demanding pro could need and at the same time remains simple to operate.
FRONT VIEW DC-10
INPUT
FOOT
SWITCH
0
1
2
3
4
6
5
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
0
10
1
2
3
4
6
5
0
10
7
9
8
7
10
1
2
9
8
9
8
3
7
4
6
5
0
10
1
2
9
8
3
7
4
6
5
REAR VIEW DC -10
RHYTHM & LEAD
EQ FTSW ASSIGN
120 V.
3 A.
60 HZ.
1.5 A
FUSE
3 A SB
HEADPHONES
AC POWER
0
1
2
3
4
6
5
0
10
1
2
3
4
6
5
LEAD ONLY
RECORDING
0
10
1
2
9
8
3
7
4
5
0
1
2
9
8
3
7
4
5
SEND
REV FTSW
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
RETURN
0
10
1
2
9
8
3
7
4
6
5
0
10
1
2
9
8
3
7
4
6
6
5
00
1
%
0
10
7
6
10
9
8
7
10
1
2
9
8
9
8
3
7
4
6
5
0
10
1
2
9
8
3
7
4
6
5
80Hz 240 750 2200 6600
RHYTHM
FT.SW.
LEAD
+
LEAD EQ
1
2
3
4
LEVEL
0
5
SLAVE
100 WATTS
10
9
8
7
6
60 WATTS
D
UAL CALIBER
STANDBY
ON
ON
POWER
DC-10
SPEAKERS
MUTE SPKR ON
SILENT RECORDING
16 OHM
8 OHM 8 OHM 4 OHM
4 OHM
PAGE 1
FRONT PANEL:
INPUT
FOOT
SWITCH
5
GAIN
6
5
TREBLE
5
2
MID BASS PRESENCE REVERB
4
6
5
4
2
3
2
4
MASTER
4
80Hz 240 750 2200 6600
RHYTHM
FT.SW.
LEAD
+
LEAD EQ
100 WATTS
2
LEVEL
60 WATTS
D
UAL CALIBER
STANDBY
ON
DC-10
ON
POWER
First familiarize yourself with the layout of the front panel and locate the RHYTHM / LEAD + EQ switch on the right side of the chassis,
between the 5 Band Graphic EQ and MASTER LEVEL control. This toggles you between the top (RHYTHM) channel and the bottom
(LEAD) channel. If you don’t have the RHYTHM / LEAD + EQ Footswitch connected, this switch will activate the channel switching
function. Before we get 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 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 toneful life substantially.) Next set the controls and the Graphic EQ as shown above:
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 Footswitch Assign located
on the left side of the rear panel (next to the fuse), 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,
FUSE
3 A SB
RHYTHM & LEAD
EQ FT.SW.
ASSIGN
LEAD ONLY
RECORDING
finding the RHYTHM plenty sweet by itself - without the use of the EQ. (see page 5 for more information on
EQ)
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 that you have heard the DC-10’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:
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, especially in the higher frequen-
making the two channels easier to balance in relative listening volume and effects send signal strength.
This is by far the most powerful control in each channel. It not only determines the overall gain amount, shape and
cies. Set high the whole personality of the channel becomes darker, fatter and more overdriven.
INPUT
5
In the DC-10 we worked hard to make sure the entire range of GAIN available is usable and more
FOOT
SWITCH
GAIN
4
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 example, somewhere between
In the RHYTHM channel try setting this control somewhere between
3
thru
. Use of moderation here
8
will reduce the likelihood of pesky microphonic tube problems ever occurring, while at the same time
2
thru
6
.
PAGE 2
TREBLE:
CONTROLS:
(Continued)
As with most guitar amplifiers, the TREBLE control is the strongest of the three rotary tone controls. It adjusts the blend
of high frequencies in a wide band between the midrange and presence frequency ranges. Its setting on the DC-10 also determines
the blend and strength of the MIDDLE and BASS controls. Set high, it is the dominant control, minimizing the amount of MID and
BASS that would be possible in the mix. Set low, the TREBLE becomes the recessive control and
INPUT
5
a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to
produce the best results.
FOOT
SWITCH
MIDRANGE
GAIN TREBLE
5
Your new Dual Caliber uses a unique MIDRANGE circuit that not only blends in rich warm MIDRANGE, but goes
beyond to give you an added bonus. Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost
MIDDLE control. In the DC-10 a third over the top crunch sound was made possible by the inclusion of the RHYTHM channels dual
purpose MID control.
INPUT
FOOT
SWITCH
GAIN
TREBLE
MID
From
2
you increase the MID to
pronounced and fatter. At about
tone control and becomes a truly usable gain control. This upper range is a smokin’
5
addition to the RHYTHM channel’s GAIN control for all kinds of higher gain rhythm
sounds. Try the MID set high and the GAIN control at about
to about
0
the taper is adjusted to act as a very effective MID control. As
3
and above, you will hear the lower MIDS getting more
4
the MID leaves behind the old notion of being a
6
for a cool blues
7
6
solo 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
1
“V” curve. Then plug the DC-10 into a 4x12 with some Celestion Vintage 30’s or 25’s.
This should be sufficiently heinous for even the most serious crunch fiends. 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. Dial to taste,
remembering that the setting of the TREBLE control greatly effects this controls’ strength. To obtain the sweetest clean sound, set the
Mid to
BASS:
or below.
2
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 either channel. Too much BASS will cause a flabby unfocused sound that can’t be dialed out with
the graphic because excessive BASS has been introduced to the pre-amp in
INPUT
FOOT
SWITCH
GAIN
TREBLE
MID
6
BASS
5
the early stages.
Try setting the BASS to
or below when dialing up high gain overdriven sounds in this channel. In
4
the LEAD channel, try setting the BASS somewhere between
for clean sounds in the RHYTHM channel and
6
and 6.
3
These settings will vary with the amount of GAIN and TREBLE you have
dialed up.
PAGE 3
PRESENCE:
REVERB:
MASTER:
CONTROLS:
(Continued)
These controls attenuate the upper high end harmonics and control dynamic compression in the power section. High
settings produce more sparkle and cut, lending a more open quality to the channel. Low settings of the PRESENCE compress the
sound and enhance the more vocal qualities of single notes.
INPUT
3
This control can also produce a fatter, warmer character, especially
in the LEAD channel. Lower TREBLE settings, combined with low
FOOT
SWITCH
GAIN
TREBLE
MID
BASS
PRESENCE
2
PRESENCE settings produce the richest, roundest lead sounds. Try
setting the RHYTHM channels’ PRESENCE control at around
5
or 6 for the sweet blend of sparkle and cut. This range in the
RHYTHM channel also tends to give the impression of more headroom. Try a LEAD channel PRESENCE control setting of
start with and adjust to taste. Avoid setting the LEAD PRESENCE control to
when high GAIN and TREBLE settings are in use.
10
to
3
This reduces the likelihood of annoying microphonic tube problems.
The DC-10 has a separate REVERB control for each channel. This enables different amounts of the rich ALL TUBE
REVERB to be mixed with the dry signal of each channel without compromise. It is normal for extreme settings of the REVERB control
to slightly alter the character of the channel as the voicing of the REVERB
INPUT
6
circuit becomes more dominant in the mix.
FOOT
SWITCH
GAIN
TREBLE
MID
BASS
5
The individual channel MASTER controls serve three purposes in the layout of the DC-10. FIRST: They serve as level
balancing controls for each of the two channels. This enables a wide range of front end gain settings to be matched to a given listening
level and the level of the other channel.
4
SECOND: They act as Effects Send controls, for each channel, in the EFFECTS LOOP.
BASS
PRESENCE
REVERB
MASTER
4
As with many of the controls on the DC-10, the best results for balance and tone are
usually found in the medium range.
THIRD: The MASTER control is the RECORDING jacks’ Send Level control. When
using the direct RECORDING jack found on the rear panel to interface directly to a
mixing board or recorder, this control will determine the amount of signal you will be
sending via this jack. In this application it is usually best to start with the MASTER controls set to
and gradually increase them to
0
the proper 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.
NOTE: When trying to use your DC-10 at extremely low volume levels it will be necessary to reduce the far left GAIN control. Once
the MASTERS and output LEVEL have been reduced to roughly 1.5 , reducing the MASTERS or output LEVEL below this point
causes phase interaction that prevents a clean signal from passing through this circuit junction.
If you must use your DC-10 at whisper levels to practice late at night etc...get used to reducing the GAIN as well as the MASTERS
and output LEVELS. This effect is most noticeable in the RHYTHM channel set for a crystal clean sound. In the LEAD channel set for
a high gain sound the interaction effect is less noticeable.
PAGE 4
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