Mesa/Boogie Dual Rectifier Roadster Owner`s Manual
Hello from the Tone Farm
...You, smart player and intuitive human, have put your trust in us to be your amplifi er
company. This is something we do not take lightly. By choosing this instrument to be a
part of your musical voice, you have become part of the Mesa family...WELCOME!
Table of Contents
___________________________________________________________________________________
0
Overview
____________________________________________________________________________________
Getting Started
________________________________________________________________________________
3
________________________________________________________________________________
3-4
Ch 1 & 2 CLEAN
________________________________________________________________________________
5
Ch 1 & 2 FAT
___________________________________________________________________________________
5
Ch 1 TWEED
___________________________________________________________________________________
5
Ch 2 BRIT
_____________________________________________________________________________________
6
Ch 3 & 4 RAW
_________________________________________________________________________________
6
Ch 3 & 4 VINTAGE
______________________________________________________________________________
6
Ch 3 & 4 MODERN
______________________________________________________________________________
CONTROLS:
GAIN
_______________________________________________________________________________________
7-8
TREBLE
______________________________________________________________________________________
8
________________________________________________________________________________________
8-9
_________________________________________________________________________________________
9
____________________________________________________________________________________
9
_____________________________________________________________________________________
OUTPUT CONTROL
_________________________________________________________________________
SOLO CONTROL
______________________________________________________________________________
STANDBY SWITCH
____________________________________________________________________________
____________________________________________________________
SLAVE
_______________________________________________________________________________________
SPEAKERS
___________________________________________________________________________________
_____________________________________________________________________________________
CHANNEL STRIPS
_____________________________________________________________________________
________________________________________________________
_____________________________________________________________________
______________________________________________________________________
_______________________________________________
________________________________________________________________________
TUNER OUT
__________________________________________________________________________________
A.C. RECEPTACLE
_____________________________________________________________________________
_____________________________________________________________________
________________________________________________________________
___________________________________________________
22-26
SPEAKER HOOK-UP & IMPEDANCE MATCHING GUIDE
___________________________________________
27-32
________________________________
33-35
________________________________________________________________________________
36
FRONT PANEL:
RO A DS T E R
REAR PANEL:
PRECAUTIONS & WARNINGS
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:
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
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 unit is wired for proper voltage. Make certain grounding conforms with local standards.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Vacuum tube amplifiers generate heat. To insure proper ventilation always make
certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet.
Keep away from curtains or any flammable objects.
WARNING: Do not block any ventilation openings on the rear or top of the amplifier. Do not
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of
its cabinet.
WARNING: Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
place objects filled with liquids on or nearby the amplifier.
WARNING: Always make certain 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 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.
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. Remove the power plug from the AC mains socket if the unit is to be stored
for an extended period of time. 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. Do not use
solvents such as benzene or paint thinner to clean the unit. Wipe off the exterior with soft cloth.
Overview:
on choosing the
Mesa Dual Rectifi er Roadster
as your amplifi er and welcome to the
Mesa/Boogie
Family! By
choosing this all-tube hand-built instrument you have taken a step into the future of guitar amplifi cation, for as you can see at a glance,
the
Roadster
is more than just an amp. It’s a
housed in one chassis. This arsenal of sounds is so powerful that
with them at your command, inspiration will take over and propel your playing to places you have only dreamed. Let’s take a moment
and review the features that make up this house of tone.
ally just four separate amps. If you view it as such and learn them individually and
combine and dedicate them, you will fi nd the
sounds in the
Roadster
as you go deeper. In case that was too simple sounding, here is a more expanded way of understanding the
Roadster.
Roadster
and though they may each be used for any sound, they
are grouped as two sets of lower gain Rhythm Channels (1 & 2) and two sets of high gain Lead Channels (3 & 4). The two sets are
stacked with the lower gain rhythm channels following the Input jack. Each of these channels house 3 different modes, which are
voiced differently and in certain cases have different gain structures. You’ll notice the modes are duplicated in the two types of channels
OUTPUT
SOLO
CH1 CH3
LOOP
GAIN TREBLE MID BASS PRESENCE MASTER
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
BOLD
SPONGY
ON
STANDBY
CLEAN
TWEED
FA
T
CLEAN
BRIT
FAT
GAIN TREBLE MID BASS PRESENCE MASTER
FRONT VIEW : COMBO
Roadster
MUTE
CH2 CH4
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
FX LOOP
CH4
CH3
EXT.
SWITCH
CH2
CH1
REVERB SOLO LOOP TUNER OUT
LOOP SYSTEM
ACTIVE
HARD BYPASS
LOOP, OUTPUT &
SOLO CONTROLS
NORMAL
SEND
LEVEL
SEND RETURN
CH 4
6L6
BIAS
EL34
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WA
TTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATT
S
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATT
S
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATT
S
FX ON
FX
OFF
CH 3
CH 2
CH 1
SLAVE
LEVEL
OUT
REAR VIEW : COMBO
Roadster
(USE WITH TWO 8 OHM CABS)
4 OHM8 OHM
SPEAKERS
4 OHM16 OHM
This allows the
Roadster
to be many amps to many players and roam confi dently between extremely
different musical styles while retaining the ability to focus in on any one and offer a multitude of great sounds for a specifi c genre. For
example, a Blues player might dial up 1 & 2 for different clean sounds using the same mode for both chording and solo fi lls, while 3
4 provide different levels of the same lower gain solo sound. Conversely, a Rock player might confi gure 1 & 2 for semi-clean and
same modes.
This type of preamp versatility means you will never have to compromise, even when you change bands or venture into a new and
different style with your playing. You’ve chosen an amp that will grow with you.
This awesome preamp power is then sent to the
Roadster’s
Effects Loop section and we have provided a Series Loop to assure a
and out on the fl y.
The
Roadster
also features Rectifi er Tracking, a feature which automatically matches the type of rectifi cation for each of the preamp
/ power sections you have confi gured. This means you can tune the power feel even further to the sound you are creating. You might
want a lower wattage clean sound with the loose, airy feel of Tube Rectifi cation and a high gain lead sound with higher power and the
tight tracking bass response of the Diode rectifi er or vice versa. Many combinations are possible and the best part is that Rectifi er
Tracking follows your choices in power settings to always mate the proper amount of rectifi cation for the number of tubes in use. For
example, if you are using either 2 x 6L6 and you choose Recto Tracking, 1 x 5U4G will be applied. If you use 4 x 6L6, 2 x 5U4G will
The
Roadster
incorporates a rich, all tube analog Reverb. Controlled per channel with the Rear Panel Reverb controls, it may be
switched in and out via the foot controller.
Our patented SOLO feature is an additional Output Level control that is wired in parallel to the Output and provides a pre-assignable,
footswitchable boost for stepping out when it’s time to solo.
A built-in Variac, our patented SPONGY/BOLD switch, is also included which enables you to reduce the A.C. line voltage for a looser
feel and increased upper harmonic spread resulting in that
sound that has the elusive sag.
And fi nally, to keep you in constant control of all the features aboard this vehicle of expression, we have supplied one of the mightiest
footswitches around. All possible Channels, Functions and Features are there for your instant access and their status is monitored
Roadster
behind us, let’s get ready to play.
Overview: (Continued)
After unpacking the amplifi er remove the plastic webbing from all of the tubes (including the preamp tubes behind the row of
2.)
Install the 5U4 Rectifi er tubes (if they are not already in place) by bending back the spring steel tube clamps just enough so that
the base of the tube will have to barely push the clamps out of the way as they go in. Be sure to line up the guide with the slot in
the socket, don’t force it…when it is lined up it will fi t in the socket easily. When the tube is lined up gently press the tube into the
socket while rocking it back and forth until it is seated.
3.)
Connect the 8 Pin DIN Footcontroller Cable to the female DIN connector located on the Rear Panel just under the Rotary Mode
4.)
Connect the A.C. Power Cable to a grounded A.C. outlet.
5.)
Flip the A.C. Mains switch to the BOLD position and wait at least 30 seconds for the power tube fi laments to warm up with the
6.)
Turn the Front Panel OUTPUT control to zero before fl ipping the STANDBY switch to the ON position. This will prevent accidental
settings that are too loud for the room and your ears. These amplifi ers are LOUD and are capable of extreme volumes and should
7.)
Flip the STANDBY to the ON position and enjoy your new instrument.
The Rear Panel CHANNEL SELECT Rotary switch must be set to FOOTSWITCH to access either Channels or features via the
footcontroller.
2.) The OUTPUT and SOLO controls work only if the Effects Loop is active.
Switch out of the LOOP BYPASS position in the
3.)
The SOLO Control is activated when the Footcontroller is connected to the FOOTSWITCH jack on the Rear Panel and the Ef-
fects Loop is taken out of LOOP BYPASS and activated. When the Footcontroller is not connected the SOLO control will have
4.)
The SOLO feature can be used to set a volume level above that of the OUTPUT control setting. It will not allow a setting below
that of the OUTPUT control.
5.)
The GAIN and TREBLE controls are the most powerful controls in all four channels. They should be used with taste and you will
fi nd that many of the best sounds are found with the controls set somewhere in their middle regions. Avoid setting the TREBLE
above 2:00 when the GAIN is maxed as the possibility of unwanted noise and squealing from microphonic tubes increases
dramatically above this setting.
6.
) You will notice a substantial volume increase when switching from either the RAW or VINTAGE modes to the MODERN mode
Getting Started:
Helpful Hints:
7.)
The PRESENCE control determines a lot about the voicing of gain sounds. Set lower it will fatten and compress single note
sounds and lend a liquid feeling to the strings in the 3 modes of Channels 3 & 4. Set higher it will add cut and brightness to the
sound and can be useful in keeping Bass response tight, especially at high GAIN settings when searching for crunch rhythm
sounds.
8.) Although Channels 3 & 4 contain duplicate modes, the PRESENCE controls are different and therefor settings and
sounds will not dial up exactly the same. CHANNEL 3 has been optimized for the RAW and VINTAGE modes
with a PRES-
showcases the more warm and fury nature of these two modes.
CHANNEL 4 houses a much more powerful PRESENCE
control that has been optimized for the MODERN mode and will go to realms of top end that are frankly ridiculous.
the difference like this
and conversely,
9.)
When switching Channels with Reverb applied or switching the Reverb itself in and out of the signal path with the Footcontroller,
Helpful Hints:
(Continued)
CHANNELS 1 & 2: CLEAN
This is the lowest gain circuit of the
Roadster’s
twelve modes and is optimized for producing bal-
anced pristine clean sounds. This mode is duplicated in CHANNEL 2 as it is extremely useful for many different
applications. For the best understanding of how to achieve a great sound in this mode, please refer back to
the GAIN control section of this manual. However, a great place to start is 12:30 or so on the GAIN control
with more sparkle available below this and more warmth apparent above...from there adjust according to your
guitars individual response.
a focused attack.
This mode comes from our original
Mark 1 Boogie
and puts emphasis on the low mid and bottom end
and as a result the top strings of the instrument have more girth and width. This mode is duplicated in CHANNEL 2 and is very
you reset the controls for balance. We suggest running the BASS control a couple notches lower, especially
for chording.
to achieve the best results with this mode. We like to set the GAIN somewhere between 10:30 and 12:00 for
chording as this brings out the sparkle and improves the headroom.
sound with the GAIN all the way up, you will likely have to run the BASS below 9:30 to avoid fl ubbiness and
This mode appears in CHANNEL 1 only and is a gainier variation on the CLEAN that appears in both
channels. Here we have emphasized the gain in the midrange to achieve a more vintage feel that has an element of sag built in. This
Yet here in the Roadster there is just enough increased gain to take these sounds over the top and
give you that extra fi re and feel. This mode may be one of the best sounds in the Roadster and would
character and super-dynamic attack envelope. The added bounce of this feature mates perfectly with
TWEED’s preamp voicing, especially when used with the 50 watt power setting.
scheme a step further and selecting SPONGY on the A.C. POWER SELECT switch and knocking the
A.C. down for a truly soupy vibe. Whether you choose to utilize
TWEED
for these lower headroom retro
applications or, you want a sweet clipped sound with just a bit more resiliency, this mode is a wonderful
voice for any style of clean playing or soft clip soloing.
CHANNEL MODES:
CLEAN
TWEED
FAT
BRIT
FAT
CLEAN
CLEAN
TWEED
FAT
BRIT
FAT
CLEAN
CLEAN
TWEED
FA
T
BRIT
FA
T
CLEAN
CHANNELS 1 & 2: FAT
CHANNEL 1: TWEED
CHANNEL 2: BRIT
This mode appears in CHANNEL 2 only and, as the name implies, was inspired by the great sounding amps
of the 50s’ & 60s’ that were built in Great Britain. These classic amplifi ers were basically “upside down Leo circuits” but none the less had
a signature sound all their own, due largely to the fact that they were powered by the pentode available to them at the time…the Euro
style EL 34. This difference, along with minor value differences in the circuit, created a very different sound than the tweed and black
face amps born in the United States.
We have combined all the great qualities of several of these classic circuits to arrive at a sound that is pure tea bag.
With emphasis on a lower region of Treble and more punch in the low mids, this mode is truly different than the
other modes in CHANNELS 1 & 2. It works extremely well for both chording and single note soloing with its thicker,
throatier nature. It also lends itself well to clipped sounds, with its less extended top end and wider mid section,
works
very well with EL34 type power tubes so be sure to try using the Real Panel Bias switch and swapping the stock compliment of 6L6’s for
a set of EL34’s to create the ultimate pre/power match in the studio. EL34’s will most likely compromise the performance of the other
The choice is yours as to how best to use this very cool and different mode and we feel sure that, no matter how you decide to dedicate
your clean channels, you will fi nd the
mode an awesome addition to your bevy of sounds.
This new
Roadster
extremely wide spectrum and it can be set to double as a formidable alternate clean mode, a low gain
The TREBLE can be set relatively high (2:00) to add a little more gain and shred when using
for
certain crunch rhythm sounds and keep in mind CHANNEL 4 is capable of more aggressive sounds due
to its more extreme PRESENCE control taper. Don’t overlook the amazing medium gain soloing potential
offers in CHANNELS 3 & 4 where, because of the PRESENCE controls more gradual response, a
wider range of voice-like single note sounds appear that benefi t from this more compressed character.
This high gain mode is the famous liquid
Recto
voice and it can be found in its original state in CHANNELS
3 & 4. Its lush harmonic content and fat creamy feel has found its way onto so many recordings, it is now a staple for anyone headed to the
studio for an album project. Combining this super juicy, expressive preamp with the
Rectos’
black magic, tube-rectifi ed power section creates
colors in gain that most players fi nd truly addictive. Single note solo work is effortless as the strings become easy to play with
VINTAGE
VINTAGE
VINTAGE
These two modes are similar enough when
VINTAGE
is set in its lower range and RAW is set in its medium
to higher range and yet, each posses a character that is unique and identifi able. Remember that you can
swap channels to achieve different voicings of the
VINTAGE
sound and no matter which you settle upon,
you will likely fi nd your trademark lead sound lurking somewhere in this sea of liquid gain.
CHANNEL MODES:
(Continued)
BRIT
FAT
CLEAN
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
MASTER
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
MASTER
CHANNEL 3 & 4: RAW
CHANNEL 3 & 4: VINTAGE
CHANNEL 3 & 4: MODERN
Aggressive. This is the word that best describes the menacing power of the
Roadster’s
The added tightness of the low end response combined with the radically more present top end keeps
the
mode tracking accurately even at extreme gain settings. Keep in mind that when using
in CHANNEL 3 you will have to run the PRESENCE control almost all the way up to ap-
This lack of extreme top end can be a benefi t when searching for single note solo sounds in the
mode as the more compressed nature of this tamer presence range in CHANNEL 3 tends
to warm things up.
This control adjusts the predominant gain stage in each channels’ circuit with the function and taper being optimized for each
Roadster
is really three separate multi-mode amplifi ers built onto one chassis, so though
each channel looks identical, the
GAIN
control for each channel comes in a different place and
adjusts a different point in that channels circuit.
GAIN
control is the most powerful
control in the preamp. It shapes the overall style and character of the sound and is responsible
for whether the sound is clean, overdriven or anywhere in between. In your
Roadster
GAIN
control is even more powerful. It not only determines the amount of drive, but also acts as an
To simplify the
GAIN
controls’ role in shaping the overall tone of the sound we will look at it in two
ways -
alone and
2;
in conjunction with the tone controls.
enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a fuller
contains many of the
Roadsters’
ample sustain.
saturates the signal and enhances low and low mid frequencies. While this region provides the maximum satura-
tion and therefor sustain, it also compresses and softens the attack characteristics. For this reason we suggest using this higher
GAIN
control sparingly and only when maximum sustain is needed.
CHANNEL MODES:
(Continued)
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
MASTER
GAIN
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
GAIN:
Roadster’s
extreme gain potential, the highest regions of the
past what they can handle, producing microphonic squealing. While we screen and test the tubes your amplifi er was shipped with
gain settings. Your tubes are warranted for a period of 6 months under normal use, but you can save yourself the present and future
Roadster
2.) GAIN - In conjunction with the Tone controls -
Basically, a simple rule applies...as the Gain is increased the Tone control string
getting mostly Gain and very little Tone
this is the reason we suggest using the
GAIN
control in its middle region. Here the Tone control string is very active and provides
TREBLE:
As in most tube guitar amplifi ers, the
control ( in all four channels of your
Roadster
) is the most powerful of the
- and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of the
control is very important for equal representation of the three frequency regions to appear at their respective controls. Like
Roadster
TREBLE
control where ample top end is mixed in and yet enough signal is still passed on to
the MIDDLE and BASS controls.
As you might surmise, here is the
There are defi nitely great sounds
above and below this middle region ( 11:00 - 1:30 ), but the balance between the
TREBLE
control and the other two tone controls is compromised.
The one place you may want to throw caution to the wind and set the
control
above this median zone presents itself in CHANNEL 1 of your new
Roadster
control can be used to dump extra
gain into the mix. This is especially effective in the TWEED mode for crunch sounds.
When doing so use the PRESENCE control to roll off some of the more than ample
top end for a more compressed feel and fatter voice. As you might surmise, the BASS controls’ effectiveness will be reduced, so you
control in Channel 1 TWEED should be used sparingly above 2:30 to avoid unwanted microphonic tube problems.
The
control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as that
of the TREBLE control, it plays an integral part in achieving any sound in your
Roadster
as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
control settings ( 7:00 - 11:00 ) where a scoop in this region produces
girth
feel to the strings and
therefore less apparent resistance to the pick. As the
control is increased, ( 11:30 - 1:30 ) the sound is rounded-out and
GAIN
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
TREBLE
CONTROLS:
(Continued)
MID:
fi lled-in with a focused mid attack appearing rather quickly. As you would guess, the feel starts to change - becom-
control could be used to compensate for either weaker pick-ups or for times when
a specifi c defi ciency is produced by either an extremely high setting of other tone controls, or a physical anomaly in the room. While
these
control settings ( 2:00 - 5:00 ) can introduce added gain and create enhanced focus, the trade-off will be a stiffer, more
forward, less compressed feel.
CHANNELS 1 & 2 utilize a different MIDDLE control than that of the CHANNELS 3 and 4
with a custom-designed taper and
value. In its low range ( below 12:00 ) it functions as a normal midrange control with a taper suited
to blending fi ne increments of these frequencies. Most players lean toward a fairly radical scoop (
7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus producing the
signature sparkle and breath essential for a pristine clean sound.
As the
control in CHANNELS 1 & 2 are swept past 1:00, it quickly starts to add gain in these
gain control
capable of taking both CLEAN and TWEED modes to extremes.
to balance both sound and feel. While this added fl exibility may make CHANNEL 1 & 2
control
a little more tricky to learn at fi rst, it will become quite valuable as you start to realize the power of
this super versatile channel.
This control works similarly in all four channels in that it determines the amount of low frequencies present in a sound.
it mixes in changes from channel to channel. Like the MIDDLE control, it falls in line
signal-wise
the TREBLE control and the same scheme applies. When the TREBLE control is set
these two controls become dominant.
the TREBLE control in its middle ranges. This scenario produces nearly equal representation of all the
frequencies on the tone controls and provides a great neutral starting point for further tweaking.
The
control is a high frequency attentuator that is placed at the end of each channels pre-amp stage
and affects frequencies higher than those of the TREBLE control. It acts independently of the other
control settings darken and, in fact, compress the signal which works well to fatten single
Roadster
fi nd the
control in its lower regions, where a balanced, vocal response is achieved.
Roadster
and this can be great for sparkling clean
sounds in Channels 1 & 2 and more aggressive crunch rhythm sounds in the high gain modes. Be
sure to taunt the beast that lurks in CHANNEL 3 MODERN as the
is truly amazing in
this most agro mode.
CONTROLS:
(Continued)
TREBLE MID
MID: (Continued)
BASS:
PRESENCE:
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