Mesa/Boogie Dual Caliber DC-3 Owner's Manual
M
l
ESA
OOGIE
B
DU
AL
Owner's Manua
CALIBER
DC
-
3
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 make to you...our new friend.
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 AC 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 behind amplifier.
Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power
supply specifications listed on the rear 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.
Do not use solvents such as benzene or paint thinner to clean the
unit. Wipe off the 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.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANET HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel. Always unplug
AC power before removing chassis.
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-3
TABLE OF CONTENTS
Page #
Precautions
FRONT PANEL Description and Usage
Gain
Treble
Mid
Bass
Presence
Reverb
Master
Output Level
Graphic EQ
Toggle Switches: Rhythm / Lead, On / Standby and Power
REAR PANEL Description and Usage
0
1
2 & 3
3
3
3 & 4
4
4
4 & 5
5
5
6
7
Fuse
EQ Select
FTSW EQ / Reverb
FX Loop Send / Return
FX Mix
Recording / Silent Recording
Slave
Speaker
Suggested Sample Settings & Personal Setting Page
Tube Task Chart
Diagnosing Power Tube and Pre-Amp Tube Failures
Bias Adjustment: Part of a Continuing Series, by Randall Smith
Parts Sheet
(impedance matching)
7
7
7
8
8
8
9
9
10 & 11
12
13 & 14
15, 16 & 17
18
DC-3
Operating Instructions
Overview:
Your DC-3 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 EL-84
power tubes to fuel its healthy thirty-five watt power section. We are pleased by its surprising headroom, yet truly musical “clipability”
when pushed. The DC-3’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-3’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-3 in larger rack systems, or to interface to other power sections, the Slave Jack and Level Control are welcome features.
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-3 provides all the features any demanding pro could need and at the same time remains simple to operate.
FRONT VIEW DC-3
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 -3
RHY
1.25A
FUSE
2.5A SB
IN
OUT
EQ SELECT
FTSW EQ/REV
0
10
1
2
3
4
1
2
3
4
LEAD
FT SW
5
0
5
1
2
9
8
3
7
4
6
10
1
2
9
8
3
7
4
6
SEND
RETURN RECORDING
0
10
6
5
0
10
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
10
1
2
9
8
3
7
4
6
5
0
10
1
2
9
8
3
7
4
6
5
0
1
2
9
8
3
7
4
6
5
0
1
2
9
8
3
7
4
6
5
0
10
7
10
7
10
1
2
9
8
9
8
9
8
3
7
4
6
5
0
10
1
2
3
4
6
5
0
10
1
2
9
8
3
7
4
6
5
9
8
OUTPUT
7
LEVEL
80 240 750 2200 6600
D
ON ONRHYTHM
STANDBY POWERLEAD
UAL CALIBER
DC-3
DynaWatt Power
0%
FX MIX
00
1
%
MUTE SPKR ON
SILENT RECORDING
M
ESA
OOGIE
B
HANDBUILT IN PETALUMA
PATENT APPLIED FOR
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. Turn 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 the example below:
INPUT
FOOT
SWITCH
5
6
5
TREBLE MID BASS PRESENCE REVERBGAIN
2
55
63
6
4
22
4
2
MASTER
4
OUTPUT
LEVEL
ON ONRHYTHM
STANDBY POWERLEAD
UAL
C
80
240
750
2200 6600
D
ALIBER
DC-3
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)
Again, these are merely examples of the two channels. Experimentation leads to finding many different
1.25A
FUSE
2.5A SB
RHY
IN
OUT
EQ SELECT
FTSW EQ/REV
LEAD
FT SW
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-3’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, especially in
INPUT
FOOT
SWITCH
5
GAIN
4
the higher frequencies. Set high the whole personality of the channel becomes darker, fatter and more
overdriven. In the DC-3 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
PAGE 2
GAIN:
(Continued)
TREBLE:
BASS:
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
3
thru
. Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occuring, while at the same
8
thru 6 In the RHYTHM Channel try setting this control somewhere between
2
time making the two channels easier to balance in relative listening volume and effects send signal strength.
As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. It controls the blend of high
frequencies in a wide band between the midrange and presence frequency ranges. Its setting on the DC-3 also determines the blend
and strength of the MIDDLE and BASS Controls. Set high, it is the dominant control, minimizing
INPUT
5
the amount of MID 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
MIDRANGE
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. In the DC-3 a third over
the top crunch sound was made possible by the inclusion of the RHYTHM Channels dual
INPUT
2
purpose MID Control.
FOOT
SWITCH
GAIN TREBLE MID
From
increase the MID to
5
and fatter. At about 6 the MID leaves behind the old notion of being a tone control
to about
0
the taper is adjusted to act as a very effective MID Control. As you
3
and above, you will hear the lower Mids getting more pronounced
4
and becomes a truly usuable gain control. This upper range is a smokin’ addition to the
RHYTHM Channel’s GAIN Control for all kinds of higher gain rhythm sounds. Try the MID
Control set high and the GAIN Control at about
6
this still isn’t crazy enough for you...Max the GAIN and TREBLE Controls and set the PRESENCE Control to 0 or
for a cool blues solo sound. If
7
, turn on the
1
Graphic and give it the old “V” curve and plug into a 4x12 with 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. Dial to taste,
remembering that the setting of the TREBLE Control greatly effects this controls strength.
This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE Control. It should be
INPUT
6
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 EQ because excessive Bass has been introduced
FOOT
SWITCH
GAIN TREBLE MID BASS
5
to the pre-amp in the early stages. Try setting the BASS to
in the RHYTHM Channel and
or below when dialing up high gain overdriven
4
for clean sounds
6
PAGE 3
10
BASS:
(Continued)
PRESENCE:
MASTER:
sounds in this channel. In the LEAD Channel, try setting the BASS Control somewhere between 3 and
. These settings will vary
6
with the amount of Gain and Treble you have dialed up.
These two 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 Control compress the
sound and enhance the more vocal qualities of single notes.
This control can also produce a fatter, warmer character, especially in the LEAD Channel. Lower Treble settings, combined with low
PRESENCE Control settings produce the richest, roundest lead
INPUT
3
sounds. Try setting the RHYTHM Channels’ PRESENCE Control at
around
5
or
for the sweet blend of sparkle and cut. This range
6
in the RHYTHM Channel also tends to give the impression of more
FOOT
SWITCH
GAIN TREBLE MID BASS PRESENCE
2
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. This
to
3
reduces the likelihood of annoying microphonic tube problems.
REVERB:
The DC-3 has an individual REVERB Control per channel. This enables different amounts of the rich ALL TUBE reverb to be mixed
with the dry signal of each channel. It is normal for extreme settings of the REVERB Control to slightly alter the character of the
channel as the voicing of the reverb circuit becomes more
INPUT
3
dominant in the mix.
FOOT
SWITCH
GAIN TREBLE MID BASS PRESENCE REVERB
3
The individual channel MASTER Controls serve three purposes in the layout of the DC-3. 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. SECOND: They act
INPUT
4
as effects send controls, for each channel, in the
effects loop. As with many of the controls on the
DC-3, the best results for balance and tone are
usually found in the medium range of this control.
FOOT
SWITCH
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
4
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 the proper level. This minimizes the possibility of blowing
0
speakers or eardrums in the event the engineer has an extremely sensitive input headroom setting in place at the console.
PAGE 4
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