Mesa/Boogie Express Owner’s Manual
Owner’s Manual
Hello from the Tone Farm
...You, smart player and intuitive human, have put your trust in us to be your amplifier
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!
Our goal is to never let you down. Your reward is that you are the new owner of an amp,
bred of fine all tube heritage...benefiting from the many pioneering and patented Mesa
circuits that led to the refinement of your new model. We feel confident, 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.
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.
Table of Contents
Precautions _______________________________________________________________________________ 0
Overview ________________________________________________________________________________ 1-2
FRONT PANEL CONTROLS & FEATURES
MODES: CLEAN, CRUNCH, BLUES, BURN ____________________________________________________ 3-4
GAIN _____________________________________________________________________________________ 5
TREBLE __________________________________________________________________________________ 5
MID ______________________________________________________________________________________ 6
BASS _____________________________________________________________________________________ 6
REVERB __________________________________________________________________________________ 6
MASTER __________________________________________________________________________________ 7
CH1 / FTSW / CH2 SWITCH ___________________________________________________________________ 7
CONTOUR_______________________________________________________________________________ 7-8
STANDBY _________________________________________________________________________________ 8
POWER ___________________________________________________________________________________ 8
REAR PANEL CONTROLS, SWITCHES & JACKS
EXTERNAL SWITCHING _____________________________________________________________________ 9
EFFECTS LOOP ____________________________________________________________________________ 9
POWER SELECT __________________________________________________________________________ 10
FULL POWER _____________________________________________________________________________ 10
5 WATT __________________________________________________________________________________ 10
SPEAKERS _______________________________________________________________________________ 11
FACTORY SAMPLE SETTINGS _______________________________________________________________ 12
PERSONAL SETTINGS _____________________________________________________________________ 13
DIAGNOSING TUBE PROBLEMS __________________________________________________________ 14-15
BIAS ADJUSTMENT ARTICLE ____________________________________________________________ 16-18
SPEAKER IMPEDANCE MATCHING AND HOOKUP GUIDE _____________________________________ 19-20
FEATURE ARTICLE: ON PENTODES, TRIODES & IRISHMEN by Randall Smith ____________________ 21-23
TUBE TASK CHARTS: 5:25 & 5:50 _________________________________________________________ 24-25
PART SHEETS: 5:25 & 5:50 _______________________________________________________________ 26-27
Operating Instructions
INPUT
GAIN TREBLE MID BASS REVERB MASTER CONTOUR
POWER
ON
ON
STANDBY
CLEAN
ON
CRUNCH
FT SW
5 WATT
CLASS A
CH 1
BLUES
ON
CH 2
FT
SW
BURN
FT SW
O
F
F
O
F
F
Overview:
Congratulations on choosing one of the Express models as your amplifier and welcome to the MESA Family! These amplifiers represent the latest generation of a time-proven circuit that has been evolving over the last 22 years. With inspiring Tone and a layout
that’s intuitive and easy to navigate, it’s no wonder this model has become one of our most popular line of instruments.
We use the term instrument literally because you will quickly come to rely on the myriad of truly Expressive sounds in your amp as
it becomes an integral part of your tone and your individual voice. Feel confident that, just like a fine musical instrument, we handcrafted your all-tube amplifier here in Petaluma, California adhering to a code that is centuries old…where patience and scrutiny
are guiding every step on the way to excellence.
Both Express models use the same super versatile, tone-packed preamp featuring two fully independent Channels, each of which
contain two style enhanced modes to choose from when creating your footswitching preferences. Channel 1 hosts the blooming
low-gain sweetness of CLEAN or the snarling mid-gain percussiveness of CRUNCH and covers the rhythm territories. Channel 2
offers a different face to mid-gain with the howling honesty of BLUES or a high-gain adventure through the searing layers of molten
harmonics in BURN. Together these two inspiring modes invite years of solo exploration.
These stylistically opposing modes in the two Channels enable your Express to roam many different genres of music with complete
legitimacy. The R&B, Roots or Blues minded player would find themselves at home with Channel 1 set to CLEAN and Channel 2
set to BLUES, while the Rock, Metal or Punk influenced guitarist would likely prefer switching between CRUNCH and BURN. This
ability to reconfigure the Channels and morph personalities creates a Jekyll/Hyde platform from where any classic or modern tone
you are aiming at can be found in seconds. The ability to adapt is part of what defines a classic instrument.
To add to the soul-power of these four modes, each Channel boasts an assignable/footswitchable CONTOUR mode with its own
blend control, allowing you to dial in specific amounts of this dynamic EQ circuit for each of your footswitchable sounds. The sizeenhancing sound of this preset curve has been the result of polling thousands of happy customers over our 38 year history and
finding most all of you want a bigger, crisper sound with less mids. The classic MESA Graphic EQ Mid-Dip “V” curve has become
FRONT VIEW: Express 5:25
REAR VIEW: Express 5:25
PAGE 1
Overview: (Continued)
synonymous with huge guitar sounds and this CONTOUR feature puts all the authentic power of this circuit into one easy to dial
control.
Rich all-tube REVERB enhances the spatial quality of your Express and each Channel provides an independent Reverb Mix
control so you can get the perfect blend of this beautiful effect for each of your footswitchable sounds. The Reverb effect can be
triggered on and off via the included Footswitch.
Outboard Processing is handled by the series EFFECTS LOOP, keeping patching to a minimum and protecting tonal integrity a
priority. The Express amplifiers are compatible with most good quality processors and using this feature for all of your rack-type
effects will produce gratifying results.
Both Express models, the bouncy 25 watt 5:25 with its 2xEL84 9-pin power tubes and the bolder 50 watt 5:50 running 2x6L6 octal-base pentodes, feature our patented Duo-Class™ power switching. This valuable feature allows you to run the output tubes in
two different wattage ratings – very cool, but what’s amazing is this – each power mode has it’s own tone-spawning operating class
and wiring configuration! Choose the full power mode of either amp (25W in 5:25 or 50W in 5:50) for Class AB running in a PushPull configuration for punch, authority and headroom. Then, kick down to the 5 watt mode for the ultimate in sweet clipability…
now you’re running one tube in pure Class A wired in Single-Ended configuration. Obviously we were thankful the patent office
saw the possibilities and rewarded our efforts with a patent, but what excites us is the look on players faces when they experience
this feature…hear and feel this bi-polar magic for the first time. Duo-Class™ delivers the best of these two iconic power styles in
all their authentic glory with the flick of a switch! The Express 5:25 also features our patented Dyna-Watt™ Power that creates a
time-specific burst of headroom at the initial attack of the notes that far exceeds the rated power of the circuit and gives the 5:25
an incredible sound and feel all its own.
Now that you have an overall picture of the features in your new Express Let’s move on to the specific modes and features. Before
we go there though, you may want to check out these two sample settings to audition two basic and very different footswitching
personalities to experience the amazing versatility of this instrument.
INSTANT GRATIFICATION
Sweet Clean / Howling Blues
Big Crunch / Burning Lead
PAGE 2
FrONT PANeL: CONTrOLS & FeATureS
THe MODeS
CHANNEL 1
CLEAN:
chording sounds. The CLEAN mode has the greatest dynamic range of all the modes as the signal here is not compressed with
any additional gain as are sequentially, the other three. Because of this more traditional gain structure, many players that are look-
From the 2:30 – 4:30 range a soft fur will begin giving way to a vintage style break-up and finally at its maximum setting (5:30) the
signal will be fairly pushed and overdriven. Keep in mind that these are approximate descriptions of the sound and that your own
personal playing style, guitar, pickups and most of all touch, will determine how this mode reacts at specific settings.
CRUNCH:
to retain as much dynamic range as possible. It cleans up nicely at the lower end of the GAIN control (9:00 – 12:00) and therefore
can be used as an alternate type of clean sound, though it will always retain a bit more aggressive midrange and will not have as
much top end sparkle as CLEAN.
This is the lowest gain of the four modes in your Express and it is voiced to deliver beautiful sparkling and warm clean
ing for a vintage style response from the Express should be at home here. At higher GAIN settings this mode
delivers great old school lead sounds and if you are a player that is reliant on overdrive pedals for a certain
sound (although we greatly encourage you to explore the other three modes – especially BLUES - for overdriven applications), CLEAN will likely be the best match for retaining more dynamic range.
The taper of the GAIN control is calibrated such that at the lower settings 9:30 - 11:00 the sound will be very
bright and skinny, as you approach 12:00 – 2:00 warmth and richness appears and the signal stays clean.
This mode excels at higher gain rhythm sounds and though it is quite a bit gainier than the CLEAN mode, it’s voiced
Between 12:00 – 2:30 is where the classic rock rhythm sounds live, especially with humbucking pickups and
mahogany guitars. This is a sound that is overdriven, crisp and urgent, but not overly saturated. From 2:30
on up to the maximum GAIN setting (5:30), the sound becomes more saturated and begins to get a bit thicker
and creamier. This region is great for solo sounds where more urgency is needed, as it has ample gain but is
still tight tracking and responsive.
Be sure to experiment with the CONTOUR feature in the CRUNCH mode as some amazing sounds appear as a result of this combination. We tend to like the CONTOUR set at 12:00 with the GAIN at around 4:00 for a great rock rhythm sound. Again, these are
approximate settings as everyone will have different styles, guitars, pickups and touch.
PAGE 3
FrONT PANeL: CONTrOLS & FeATureS (Continued)
CHANNEL 2
BLUES:
rhythm playing as well if the GAIN controls are set in their lower regions. BLUES is the lower gain of the two modes in this Channel and owns the zone between the CLEAN and CRUNCH modes. It delivers a classic, old-school voice that can be set to achieve
anything from a warmer clean sound, through a purring, soft-clip break-up on up to a mournful, howling lead sound.
When using the CONTOUR feature with the BLUES mode, you will likely find the best results in the lower range of the control (9:30
– 1:00). Above this region the mid-dip EQ curve of the CONTOUR can get a little too extreme for most players searching for bluesy
solo sounds. However, this same curve can be a benefit to creating sweeter, more sparkling clean sounds as its mid-dip scoops
some of the heavier mids that are needed for a fat single note sound, but can be a bit clunky for a great clean.
Also be sure to check out combining the BLUES mode with the 5 Watt Class A setting of Duo-Class™ to explore some really cool
low-volume blues magic. The single-ended wiring produces a sweetness that enhances the BLUES mode perfectly, not to mention
that your roommates will love you for it.
Channel 2 is aimed more at single note soloing, although both of the modes contained in this channel work well for
Because it derives its architecture more from a medium gain lead circuit, it will always be a little warmer and
thicker than the CLEAN mode even at the lowest regions of the GAIN control. Therefore, if you wish to use
BLUES as an alternate clean sound or, you prefer to use Channel 1 set to CRUNCH for an urgent lead sound
and BLUES as your main clean, you will need to run the GAIN very low (9:30), the TREBLE higher (1:30
– 2:00) and the MID low ((8:00 – 9:30). Following this scheme will give you the closest approximation of the
scoop and sparkle present in the CLEAN mode.
BURN:
Channel. As mentioned in the Overview, this circuit has been evolving over the last 22 years and after you’ve dipped your guitar
into this river of undulating harmonics, you’ll come away a new soloist…baptized by gain that’s inseparable from the notes. Tight
From there on up (2:15 – 5:30) the smoldering intensity of this channel is unleashed to produce a sound that is pure molten MESA.
Legato and fluid, yet with beam-like clarity and sustain, BURN is testimony that 38 years ago on a mountainside in Marin County …
we invented high gain.
Perhaps no other mode in your Express showcases the power and sonic potential of the CONTOUR feature like BURN. Here,
the entire range of the CONTOUR control produces useful and in fact, phenomenal gain sounds. The lower (8:30 – 11:00) range
combined with lower GAIN settings works great for widening mid-gain single note solo sounds, while higher settings (11:30 – 5:30)
combined with more GAIN unveil a wall of crushing aggression that is equal to, in menace, our own Dual Rectifier™ line. Be sure
to explore this hellacious realm of sounds when you’re ready for some really big guitar sounds.
This is the highest gain of all the modes in your Express and it is BURN that characterizes Channel 2 as the Lead
and focused, searing yet vocal, BURN delivers the ultimate in Expressive high-gain.
At the lower end (8:30 – 9:30) of the gain range you will find a small overlap with the top zone of the BLUES
mode, although a bit fatter and more saturated, that offers some cool Blues or Roots melody line possibilities. The similarities end abruptly here and a wide region of amazing Rock sounds appear in the middle (9:45
– 2:00) range of the GAIN control. This is where you will likely find the most musical and versatile of your
high-gain sounds…small adjustments here can make big changes in the attack and the body of the notes.
PAGE 4
FrONT PANeL: CONTrOLS & FeATureS (Continued)
INPUT
GAIN TREBLE MID BASS REVERB MASTER CONTOUR
POWER
ON
ON
STANDBY
CLEAN
ON
CRUNCH
FT SW
5 WATT
CLASS A
CH 1
BLUES
ON
CH 2
FT
SW
BURN
FT SW
O
F
F
O
F
F
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
CH 1
ON
CH 2
FT
SW
FT SW
O
F
F
O
F
F
GAIN:
As with all tube amplifiers, especially those with higher GAIN circuits, the GAIN control is by far the most powerful control
in the amplifier. It determines the overall GAIN amount you will be working with (how clean or saturated the signal is) in any given
channel or mode by metering the signal in the beginning stages (first tubes) of the preamp. It is also a very important Tone control
as well.
Generally speaking, lower the settings of the GAIN control (below 12:00 in all modes) produce sounds that
are less saturated, cleaner, brighter and more dynamic. As the GAIN control is increased the sound begins
to get thicker and warmer and the dynamic peaks get softened by natural, sweet tube compression as the
signal moves toward saturation. This is pretty much an across the board (or Channels) response, as these
global behavior traits remain constant regardless of the individual architecture of the modes themselves.
Another simple guideline to follow that might make dialing for your sounds easier is this; as the GAIN goes
up…the BASS should come down. Following this scheme will help you avoid flub and retain a tight, focused attack.
So for example, if you are in Channel 1 CRUNCH and you want to max the GAIN (5:30) for a rhythm sound, you would want to run
the BASS control somewhere around 10:30 to keep the sound tracking tight. In the BLUES mode of Channel 2, things would be a
bit more flexible. If you wanted to run the GAIN just high enough to have a nice fury break-up when you lean into it (1:00 – 2:00),
you will be able to run the BASS a little higher (11:00 – 12:00) because there is less GAIN in the mode to begin with and you are
not using an extreme setting of the GAIN control.
NOTE: If you need very high GAIN settings to achieve the type of sound you are after, try looking to the CONTOUR for any added
low-end enhancement as this circuit comes later in the preamp and is less likely to bloat the sound. If the top-end enhancement is
unwanted, reduce the TREBLE.
Just remember that as the internal gain structure of the Modes gets increased across the Channels, so does the need to carefully
blend the GAIN and BASS, and in fact all the controls, to keep balance and cohesiveness in your Tone.
NOTE: Avoid extreme settings of both GAIN and TREBLE at the same time as the likelihood of annoying microphonic tube problems increases. If you need one set high to achieve the sound you are after, reduce the other to ensure uninterrupted performance.
TREBLE:
As in most tube guitar amplifiers, the TREBLE control (in both channels of your Express) is the most powerful of the rotary
controls and is next in line only to the GAIN control as a shaping tool. Because it is first in the signal path of the tone controls - 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 TREBLE
control is very important for equal representation of the three frequency regions to appear at their respective controls. Like most of
the controls on your Express, there is an optimum region of the 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 sweet spot. There are definitely 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.
PAGE 5
FrONT PANeL: CONTrOLS & FeATureS (Continued)
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
CH 1
ON
CH 2
FT
SW
FT SW
O
F
F
O
F
F
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
CH 1
ON
CH 2
FT
SW
FT SW
O
F
F
O
F
F
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
CH 1
ON
CH 2
FT
SW
FT SW
O
F
F
O
F
F
MID:
The MID 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 Express. It is capable of changing the feel dramatically as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
Most players tend to lean in the direction of lower MID control settings (7:00 - 11:00) where a scoop in this region produces girth (by letting the Bass become a little more dominant) and a lack of punch lends a more compressed, even
feel to the strings and therefore less apparent resistance to the pick. As the MID control is increased, (11:30 - 1:30) the
sound is rounded-out and filled-in with a focused mid attack appearing rather quickly. As you would guess, the feel starts
to change - becoming more resistant. Above this region the MID control could be used to compensate for either weaker
pick-ups or for times when a specific deficiency is produced by either an extremely high setting of other tone controls,
or a physical anomaly in the room. While these MID 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.
BASS:
The BASS control in your new Express works similarly in both channels in that it determines the amount of low frequen-
cies present in a sound. However, the style of lows it mixes in changes from channel to channel. Like the MID control, it falls in line
signal-wise after the TREBLE control and the same scheme applies. When the TREBLE control is set high, the effectiveness of the
BASS and MID controls is reduced. If the TREBLE control is set low these two controls become dominant.
For the most balanced sound and a balance of power between the three rotary tone controls, try to use 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.
Note: The BASS control in both channels of your Express is very powerful and though we have taken steps to ensure
a balanced tone is easy to achieve, it is wise to blend with subtle nuance in mind. This is especially true in Channel 2
when using either the regular Channel 1 style gain circuitry cranked, or the DRIVE circuitry for higher gain lead sounds. A good rule
to follow is this; as you increase the GAIN reduce the BASS. Following this scheme will retain balance and keep the attack of the
notes tight, dynamic and touch sensitive.
REVERB:
Your new Express amplifier is equipped with a rich, natural sounding all-tube Reverb circuit. The REVERB control enables
you to dial-in just the right amount of Reverb to be mixed with the dry signal. It is normal for extreme settings of the REVERB control
to slightly alter the character of the amplifier as the voicing of the Reverb circuit becomes more dominant in the mix.
NOTE: Avoid using high setting the REVERB control when High Gain and Treble settings are in use. This reduces the
likelihood of annoying microphonic problems occurring.
PAGE 6
FrONT PANeL: CONTrOLS & FeATureS (Continued)
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
CH 1
ON
CH 2
FT
SW
FT SW
O
F
F
O
F
F
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
CH 1
ON
CH 2
FT
SW
FT SW
O
F
F
O
F
F
POWER
ON
ON
STANDBY
ON
FT SW
5 WATT
CLASS A
ON
FT SW
O
F
F
O
F
F
MASTER:
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can see each
Channel is fitted with its own MASTER control, enabling both channels relative volumes to be matched regardless of their extremely
different sound styles and gain signatures. The MASTER control makes possible a wide range of sounds through its ability to use very
low Gain sounds at high volumes and conversely, high Gain sounds at low volumes and everywhere between.
Again, we suggest using the MASTER control in its sensible ranges (9:00 - 2:00). Here, the channels will be easier
to match with each other and the Effects Loop will see more reasonable signal levels.
NOTE: Because the MASTER control creates the send to the Effects Loop, extreme settings will cause a large
signal to be sent to the Loop for that Channel. Not only may this cause possible overloading of the processors Input
stage, but will make balancing both channel’s Effect Send level difficult.
CH 1 / FTSW / CH 2:
This 3 position mini toggle allows manual selection the Channels when the Footswitch is not connected. When the switch is in the CH. 1 (switch up) position Channel 1 will be activated and the green LED will be illuminated. The
center position labeled FTSW activates the footswitch. The lower position, CH. 2 (switch down) activates Channel 2 and the red
LED will come on.
NOTE: When the Channel Select switch is in the FTSW (center) position and the Footswitch is not connected,
the default setting is Channel 1 active.
NOTE: The indicator LED above the CHANNEL button on the Footswitch is a dual-color type that tracks the
colors on the Front Panel Channel LED indicators. It will appear green in Channel 1 and change to red when
Channel 2 is activated.
Now let’s move to the individual controls and go over how they interact to achieve the sound you’re looking for.
CONTOUR:
These two sets of 3 position mini toggles and rotary controls make up the amazing Channel specific, auto-assign-
able/footswitchable CONTOUR feature. This circuit puts all the power of our popular graphic EQ into one simple to dial control that
allows you to blend in the amount of EQ you wish to mix with your dry signal. The preset curve is based on the
classic “V” setting that 90 percent of all MESA graphic aficionados use, which scoops the mids while boosting the
low and high frequencies, to create a sound that is absolutely huge.
The mini toggles operate much the same as the Channel Select switch; ON (switch up) activates the CONTOUR
feature, OFF (switch center) allows you to trigger the CONTOUR from the Footswitch and FTSW (switch down)
defeats the CONTOUR.
NOTE: The LED above the CONTOUR button on the Footswitch is a dual-color type that tracks the color of the Channel’s CON-
TOUR LED’s when the Channel button on the Footswitch is used to switch between the Channels. Channel 1 activates a green
CONTOUR LED while Channel 2’s CONTOUR is indicated by the red side of the LED.
The mid-dip of the CONTOUR, while it enhances clean and bluesy sounds very nicely in the lower (7:30 – 11:30) range of the
control, is especially effective in creating menacing high gain sounds in both Channels 1 and 2. Here, the CONTOUR can be applied more liberally without the risk of sounding too edgy (due to inherent tube compression) and some truly outrageous sounds
start to appear in both CRUNCH and BURN at around noon (12:00). As you pass 3:00 and the CONTOUR is increased toward
PAGE 7
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