Mesa/Boogie JP-2C Owner`s Manual
Owner’s Manual
Hello from the Tone Farm
Congratulations on your choice of the JP-2C™ and welcome to the MESA/Boogie® Family! e
instrument you’ve selected has a deep heritage that combines the best attributes of vintage
tube amplication with pioneering innovation that brings high-gain channel switching
performance to a new frontier. One look at the thoroughness of the feature set of this amplier tells you it’s loaded with inspiring tools, but underneath the hood, the authenticity
of these groundbreaking circuits and features (beware imitators) dates back to our MARK
I™ and the very beginning of Modern guitar amplication. So congratulations on your
choice… you should feel a sense of pride that you’re playing an amp like no other, an original in every way! Just like you!
Our 45+ year commitment to excellence along with our solemn promise to musicians - to
treat each of them as we ourselves would wish to be treated - guarantees you an experience
that will make you feel truly justied in your choice. We’re condent your new amplier
will have you smiling and inspired within minutes of plugging in for the rst time...but
what’s really gratifying is that you will be nding new and inspiring sounds years after
the price of admission has faded from memory and the JP-2C continues to unveil it’s true
worth.
It’s with our sincere thanks for trusting us with your TONE and our best wishes for all your
musical endeavors that we welcome you home. Should you ever need assistance or guidance
we’re here to help. You now have in your hands an instrument of limitless expression. Our
hope is that it takes you and your playing to new and unimagined places throughout your
musical journey. From all of us here at MESA®...Enjoy!
s a teenager growing up on Long Island, NY I was surrounded by music...Zeppelin, Rush, Ozzy
and Van Halen cranked over the airwaves, there was a band in every other garage on my block and
A
and oftentimes it was the word of an older ‘seasoned’ player that was taken as scripture. It was, in fact, how
I was initially turned on to the players who would ultimately have the most profound inuence on me as
a young guitarist, such as Steve Morse and Al DiMeola, and it was also how I rst heard of MESA/Boogie.
I’ll never forget visiting a local music store (where I would eventually end up being employed as a guitar
teacher) that one of these respected ‘elders’ said to me; “If you want to try a real guitar amp, play through a
Boogie.” I was immediately intrigued by the funky name and just as instantly turned into a Boogie fanatic
when I plugged my guitar into one at the store and heard the magic roar of the American-made, all-tube
rig in that tiny music store ll every corner of the room. I’ll never forget it. What the hell was this thing?
Made in Petaluma? Where was that? It might as well have said it was made in the North Pole by Santa’s
elves. Maybe there were tone elves living in Northern California’s wine country who toiled over workbenches covered in tubes and circuit boards and built these life-changing sound machines. Who knows?
Regardless of my naïveté, from that moment, I kept having serendipitous encounters with Boogies in so
many dierent settings and circumstances.
Experiences like hearing the God-like tone of a local guitar hero and discovering that he was playing
through a Boogie. Or seeing Pat rall play with Jack Bruce in a nearby mainstay and being blown away
by the cascading tone coming from this little head on stage with the name ‘Boogie’ across the front. Or the
big moment of being completely enveloped in the massive guitar tones on Metallica’s ‘Master of Puppets’
for the rst time only to nd out that it was none other than the fabled MARK IIC+ that I was hearing.
everyone played guitar. Rock and metal was taken very seriously throughout the east coast suburbs
Needless to say, I became a fanatic of all things Boogie and not only would I end up being somewhat of a
collector, but unbeknownst to me, the very style that I developed as a player would be forever entwined and
associated with that ‘Boogie sound’. I can’t begin to describe the impact that this discovery has had on me as
a player ever since.
ere has always been something magical about getting a new Boogie and cranking it up for the rst time. In
fact, I still recall after having placed my rst substantial order for a Quad Preamp, 295 Power Amp, Midi Matrix,
Abacus midi controller and Shock-Mount rack, waiting for the delivery and seeing that Roadway truck pull up
to my house. It really was like Christmas!
As it turns out, it wasn’t just the awesome MESA/Boogie gear that screamed quality, workmanship and
artistic integrity that hooked me, it was also the immediate, and subsequent care and service that the small
California company extended to me, even as an unknown and not-yet professional young guitar player. I still
remember my rst tech call with none other than Doug West, who treated me as if I was in Metallica and
not just some kid from Long Island with a new amp. at call and the relationships with Doug, Randy, Jim
and the entire Boogie family that would develop far into the future, meant everything to me.
Fast forward to me and Dream eater being fortunate enough to turn that youthful passion into a full-blown
career in music and those moments of kindness, service, loyalty and tonal discovery worked their way into my
life as a professional. So much so that you can hear a MESA/Boogie amp on every DT album ever recorded,
live or studio, as well as on my 2005 solo album ‘Suspended Animation’.
In fact, nothing demonstrates the signature commanding presence of an iconic MARK IIC+ better than the
opening ris of ‘Jaws of Life’ or ‘Damage Control’ or denes the expressive and liquid lead tones I’ve come
to love and rely on as in ‘Glasgow Kiss’.
is brings me to my personal discovery of the ‘Holy Grail’ of Boogie, the MK IIC+ and eventually, to my
own signature amp that bears its name. It was my good buddy, rack builder-to-the-stars turned wine mogul
Mark Snyder who rst turned me on to the now almost mythical amp. I can still picture it clear as day, going
to his place in Brooklyn and plugging into my rst C+. All I can say, is that the experience was...religious.
I just knew that from that moment, my life of tonal pursuit had been forever changed. Now, I’ve played
through the Studio Preamp, Quad preamp, Dual and Triple Rectier, Road King, Triaxis, Formula Preamp,
Lonestar, MK IIB, MK III, MK IV and MK V (to name a few!) which are all sacred tone-monsters in their
own rite, but it was the IIC+ that had the most lasting impact.
I started doing some research about the dierent incarnations built in the 80’s. e various transformers,
power variations, original Sylvania Tubes etc. and started to consider myself somewhat of a C+ connoisseur. I
even knew to look on the rear panel for the hidden Mike B. inscription written in black marker that signied
whether or not that particular MK IIC amp truly was a “+” version! I ended up gravitating towards a specic
sounding version that I would bring on the road and into the studio.
If you were to tell the 16 year-old me that one day there would be a MESA/Boogie IIC+ with my name on
it, I would have laughed in utter disbelief and dismissed you as a mean-spirited charlatan. But alas...here
we are. e JP-2C has been born! When the reality of doing a signature amp came to be, immediately the
emphasis was placed on this being a bonade and authentic C+ reissue in every sense of the word, from the
massive transformer to the circuit and everything in-between. Randy not only vowed to make good on that
commitment, but pledged that in anyway we could, we’d even try to surpass the original. Now, this may be
hard to swallow for anyone out there reading this who is a C+ purist and tone-junky, but...we have surpassed
the Holy Grail!!
For me, once the tonal properties were intact, it was all about improving upon the ‘performance’ limitations
of the original and bringing its feature set into the 21st century. Whether it was including three separate
Channels with independent Channel EQ, having 2 Lead Channels with not just one, but two assignable
Graphic EQ’s, adding midi capability, building in the CabClone DI, or the modernized SHRED feature,
the goal was to make one amp that would provide everything I needed for stage and studio. Anything any
guitarist would ever need to not only produce the greatest clean, crunch and lead sounds on the planet, but
also access them in an instant in any setting thrown at you. ere you have it, our challenge and our mission… to create the be-all and end-all of guitar amplication. I think we achieved it and then some… and
I hope you agree.
I could not be more proud to have my name on what, in my opinion, may go down in history as the greatest
guitar amp ever built! I am forever humbled and grateful beyond expression for the opportunity given to me
by this amazing family and team of artists and innovators. Now, you get to enjoy all of the history and hard
work that went into creating it!
Here’s to your personal Tone Mission™. May the JP-2C bring you years of tonal ecstasy and artistic revelation.
–John Petrucci
Table of Contents
PRECAUTIONS
INTRODUCTION _________________________________________________________________________________ 1
OVERVIEW ____________________________________________________________________________________ 2-5
GETTING STARTED ______________________________________________________________________________ 6
HELPFUL HINTS ________________________________________________________________________________ 7
FRONT PANEL
THE CHANNELS ______________________________________________________________________________ 8-10
THE CONTROLS
GAIN _______________________________________________________________________________________ 10-11
MASTER _______________________________________________________________________________________11
PRESENCE __________________________________________________________________________________ 11-12
TREBLE ____________________________________________________________________________________ 12-13
MID __________________________________________________________________________________________ 13
BASS _________________________________________________________________________________________ 14
5-BAND GRAPHIC EQ x2 ______________________________________________________________________ 14-15
LOOP SELECT _________________________________________________________________________________ 15
REVERB SELECT ______________________________________________________________________________ 15
CHANNEL SELECT _____________________________________________________________________________ 16
SHRED _______________________________________________________________________________________ 16
POWER _______________________________________________________________________________________ 16
STANDBY _____________________________________________________________________________________ 17
REAR PANEL
AC MAINS SOCKET _____________________________________________________________________________ 17
FUSE _______________________________________________________________________________________ 17-18
REVERB ______________________________________________________________________________________ 18
HEADPHONE __________________________________________________________________________________ 19
SLAVE ________________________________________________________________________________________ 19
SPEAKERS ____________________________________________________________________________________ 20
FX (LOOP - SERIES) __________________________________________________________________________ 20-21
CABCLONE™ D.I. ____________________________________________________________________________ 21-22
• SPKR ON/SPKR OFF _____________________________________________________________________ 22
• CLOSED BACK/OPEN BACK/VINTAGE ___________________________________________________22-23
• CABCLONE D.I. (XLR OUTPUT) ____________________________________________________________ 23
• LIFT/GROUND __________________________________________________________________________ 23
• +4/-10 (LEVEL) ________________________________________________________________________ 23-24
Table of Contents
REAR PANEL cont.
MESA FTSW ___________________________________________________________________________________ 24
MIDI THRU/OUT ________________________________________________________________________________ 24
MIDI IN _______________________________________________________________________________________ 24
MIDI CHANNEL ______________________________________________________________________________ 24-25
100 WATT/60 WATTS (Half Power Switch) ___________________________________________________________ 25
MIDI OPERATING INSTRUCTIONS
FEATURES ____________________________________________________________________________________ 26
POWER-UP ____________________________________________________________________________________ 26
MESA FTSW ___________________________________________________________________________________ 26
MIDI INPUT ____________________________________________________________________________________ 26
MIDI THRU/OUT ________________________________________________________________________________ 26
MIDI CHANNEL ________________________________________________________________________________ 27
USER PRESET _______________________________________________________________________________ 27-28
USER PRESET DUMP & LOAD ____________________________________________________________________ 28
MIDI CONTROL CHANGE NUMBERS ______________________________________________________________ 29
SOFTWARE UPDATES __________________________________________________________________________ 30
SOFTWARE VERSION SysEx MESSAGE ___________________________________________________________ 31
JP-2C FACTORY PRESETS _______________________________________________________________________ 31
JOHN PETRUCCI SAMPLE SETTINGS _____________________________________________________________ 33
FACTORY SAMPLE SETTINGS ____________________________________________________________________ 34
USER SETTINGS _______________________________________________________________________________ 35
TUBE TROUBLESHOOTING GUIDE ______________________________________________________________ 36-37
SPEAKER HOOKUP GUIDE ____________________________________________________________________ 38-43
TUBE TASK CHART _____________________________________________________________________________ 44
PARTS LIST ___________________________________________________________________________________ 45
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet,
consult an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally,
or has been dropped.
To insure proper ventilation always make sure there is at minimum four inches (101.6mm) of space behind the rear of the apparatus. The ventilation should not
be impeded by covering the ventilation openings with items, such as newspapers, tablecloths, curtains, etc. Do not impede ventilation by placing objects on top
of the apparatus which extend past the rear edge of its cabinet.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
The AC plug is the mains disconnect. The plug should remain accessible after installation.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Always make sure 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 the amplifier is properly grounded. Always unplug AC power cord before changing fuse, tubes or removing chassis. Use only same type and
rating when replacing fuse.
Avoid direct contact with heated tubes. Keep amplifier away from children.
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 when handling buttons, switches and controls. Do not use solvents such as benzene or paint thinner to clean the unit.
Always connect to an AC power supply that meets the power supply specifications listed on the rear of the unit. Expor t models: always insure unit is wired for
proper voltage. Make certain grounding conforms with local standards.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE!
Your Mesa/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
Operating Instructions
Introduction (...and a bit of History):
If you know MESA/Boogie, you probably know that, aside from our one-time Limited run of the Carlos Santana King Snake Tribute
model to commemorate our first amplifier, we’ve never done Signature amplifiers or Artist models.
That’s not to say we don’t value the LONG list of Stars that have continued to make musical history with our instruments over the
last four decades… we DO! You may have seen many of the world’s most influential guitarists in our Ads and Videos over the years.
Those were all our stock amplifiers… the same one you may own. Born from our ideas combined with requests from players just like
you and built to our uncompromising specs.
We’ve always believed it better to create something magic that will work, and provide inspiration for, nearly everyone… Like a really
great tool set that can endlessly adapt. That way, each Artist–famous or not–can use it in ways all their own to create a unique and
identifiable voice. Plus, we just aren’t up for dealing with Managers and the business that comes with endorsement deals and that
has caused us to shy away from the whole idea of Signature or Artist models.
Also, time has shown that a great sounding and versatile instrument can last for decades and outlive the fleeting fame of an individual
Artist and even whole musical genres. This was the case with our MARK IIC+, Dual Rectifiers, TriAxis, Mark IV and Bass 400+ to
name a few. At that point you have an Icon. A Classic. We strive to build Classics… Products that stand the test of time and transcend careers in the turbulent music business.
However, if you play electric guitar, and especially if you’ve now purchased this amplifier, chances are you’ve heard of John Petrucci
and Dream Theater. You may even know of our 30 Year relationship building his amplifiers–again, the very same amplifiers you might
have chosen for your sound.
John exemplifies to us all that defines a true and dedicated Artist. His uncompromising belief in his vision, his goals and what it
takes to achieve them. His never-ending search for excellence in both his playing and his sound. His integrity and his endearing,
unaffected-by-stardom humility over the decades. His friendship and the feeling of brotherhood we share with him in our common
interests and desire to create something of lasting value… something to be proud of far into the future. To put it simply; His Integrity,
Passion and Love Of Great Tone.
For all these reasons and many more, we’re breaking the mold here at MESA and celebrating his talent, his life-long dedication to
his art–and ours–and the long relationship we’ve enjoyed with John and are proud to introduce a MESA first; The JP-2C. Our first
unlimited-build Signature Amplifier.
More Incredible Tone, More Features, Simpler to Use, More Control over the Channels and Modes, Midi Channel and Feature Accessibility, Built-In CabClone DI, Three Discreet Channels, No Compromise between the Channels, and most importantly, it includes
all the trade secrets and magic tone tricks we’ve learned over the 30 years since the originals were made. It has an even more fiery
attack and focused voice, tighter low end, more liquid gain, more complex layered harmonics and possess the very essence of the
burning, ripping, shredding, soaring voice that IS the II-C+.
PAGE 1
Overview:
Much like a racecar or a fighter jet, the JP-2C strips it down to bare essentials to get the job done effectively, in the simplest way,
and get you from point A (inspiration) to Point B (or should we say “T” for Tone) in the fastest way possible. It’s a purpose-built, no
compromises rendering that aims at one single goal; deliver the most aggressive, yet purest sounding II-C+ EVER in a package
that–while still extremely versatile–delivers the goods for John’s Recording and Stage needs. All Things Heavy! But more specifically; the highest headroom Clean sound possible, a Crunch rhythm that has Lead Channel gain available, but is tight, grinding and
articulate, and the ultimate Boogie Lead Channel with even more saturation available and the ability to track any technique and speed
while also reaching to the stratosphere for single note solos.
In that spirit, unlike other MESA amplifiers, the JP-2C foregoes the concept of Mode Switching for the Channels and instead dedicates
each of the three Channels to one of these three musical styles and its requirements. The ONLY switch in each Channel controls the
status of Graphic Equalization for that Channel and the choice of which one of the two EQs on board will be applied.
FRONT VIEW: JP-2C™
INPUT
™
CH 1 CH 2 CH 3
GAIN
TREBLE
EQ 1
MASTER PRESENCE MASTER MASTER
FSMD FS FSMD
BASS
EQ 2
PULL GAIN
TREBLE
EQ 1
PULL PRES PULL PRES
MD
MIDMID BASS
EQ 2
PULL GAIN
TREBLE
EQ 1
MID
BASS
EQ 2
FX
MD
1
EQ
REV
80Hz 240 750 2200 6600 80Hz 240 750 2200 6600
MD/FS
CH 1
FS
MD
CH 3
EQ 2
SHRED 2
MD
SRD 2+3
2
POWER
STANDBY
I
O
I
O
REAR VIEW: JP-2C™
FUSE
AMPLIFIER
44YV
120 V~
4 A
60 Hz
SLO
4 A
BLO
CAUTION: Unplug
power before servicing
fuse or chassis
CH 3 CH 2 CH 1
REVERB
OUT
SLAVE HD. PHONE
JP-2C™
ALL TUBE MUSIC
AMPLIFIER
SPKRONCLOSED
BACK
SPKR
VINTAGE
OFF
OPEN
CabClone
LIFT +4 dB
GROUND -10 dB
™
D.I.
8 OHM 16 OHM
SEND
FX
RETURN
USE
w
/2x8Ω
SPEAKERS
CABS
4 OHM 4 OHM
®
MESA
FT.SW.
PATENTED
6,621,907
MADE IN PETALUMA, CA
WITH THE WORLD’S
FINEST MATERIALS
MIDI
THRU/OUT
TUBE GUIDE
5 x 12AX7
4 x 6L6
100 WATTS
9
A
8
60 WATTS
B
7
C
6
5
D
4
E
3
F
2
0
STORE MIDI
CHANNEL
1
MIDI
IN
Overview: Front Panel
CHANNEL 1
section. Power section clip may be employed to attain some degree of overdrive in Channel 1, albeit at very high volumes due to
the 100 watt rating of the JP-2C power section. Additional “drive” may be sought in the upper region of the MID control (above 12:00
noon) as the MID pot employed here is the same value and taper as our MID/BOOST control found on some of our other amplifiers,
but the increased headroom in the preamp reduces the amount of overall drive available as compared to those amplifiers. This fact
renders this more powerful mid control as just that… a MID that has increased range and can add more midrange frequencies into
the mix with the other rotary Tone controls.
Channel 1 is dedicated to Clean sounds and is optimized for the maximum headroom possible in the preamp
NOTE: For the MARK II-C+ Aficionado–Re: Channels 2 & 3; We have, in both Channels 2 and 3 of the JP-2C, removed the VOL-
UME 1 Control and the LEAD MASTER control from the Panel Layout as compared to the LEAD Mode of the original MARK II-C+
in favor of user simplicity. The LEAD MASTER is a largely redundant control here in the JP-2C–as it was in our MARK FIVE™–and
its setting has a very minimal role in the sound of the Mode (II-C+)/Channel (JP-2C), mostly affecting how much of the Pull BRIGHT
(hardwired ON here) is active and audible. The values chosen for its internal setting were arrived at through the same criteria we
always use; Tone and Performance
PAGE 2
The VOLUME 1 is a bit more sensitive and critical and here in the JP-2C it is preset internally with discreet resistors in both Channels
(as we did in our MARK FIVE™) for its optimum setting as it applies to application. That setting in Channel 2 is aimed at producing the
most urgent, aggressive, thick, high gain Crunch rhythm sound possible. In Channel 3 it is very similar, but tweaked ever so slightly (set
slightly higher) for vocal, singing single note Lead sounds. All aspects of the characteristic of that missing (not externally adjustable)
VOLUME 1 (Gain) control were considered in the choice of its internally fixed setting. It was measured, scrutinized, re-measured–and then
done all over again–literally hundreds of times (as it was on our MARK FIVE project)–to arrive at the ultimate combination of immediacy
in attack, harmonic content and spread, fullness of body in Gain and Tone and nuance of explosive, aggressive, envelope in character.
The end result for the user is an amplifier that is MUCH easier to dial and arrive at the very best of the MARK II-C+’s most signature and
mind-blowing sounds more quickly and with less “neurotic tweaking” required. There is NO compromise of the original’s performance
and yet a SERIOUS benefit gained in the dial-ability with this modification to the original Control layout.
CHANNEL 2
delivered with amounts of Gain usually associated with Lead Modes or Channels. It IS in fact a Lead Channel… the LEAD Channel
from the MARK II-C+ in its original state circuit-wise. As mentioned in the above NOTE, the setting of the Gain has been optimized
for its performance in this category of sounds and though it can definitely be used for Lead sounds of all kinds, it is perhaps the first
best choice when dedicating a Channel in the JP-2C to Crunch rhythm work.
To achieve the most famous, now classic MARK II-C+ grinding rhythm sounds in Channel 2, you will likely want to employ one of
the 5-Band Graphic Equalizers (usually EQ 1) and set the Sliders to the classic V-Curve (discussed later) to scoop the mids and
boost the top and bottom end. This is by far the most widely used application for the Graphic EQ and here in the JP-2C, you have
a separate one for each of the high gain Channels! This means greater flexibility and improved accuracy when crafting your sounds
and it allows you to arrive at a truly no-compromise set of sounds for both rhythm and lead! This was something that was impossible
on the original MARK II-C+, hence the fact that many top Artists of the day used two MARK II-Cs and a Midi switcher (also contained
here) in a rack system to call up dedicated amps with different settings for each sound.
CHANNEL 3
ible explosive attack, blistering sustain and harmonic complexity of the very best of the MARK II-C+. We, along with the amplifier’s
namesake, feel we have achieved exactly that. Channel 3 boasts all the nuanced performance of the originals and delivers that
with unbelievable authority due to the straight 100 watt (versus 90 watt Simul-Class™) power section aboard the JP-2C. This power
section difference serves the musical style John plays extremely well and in fact, his absolute favorite amplifier of the many II-C+s
he owns is a 100 watt model. The front end preamp gain setting is optimized for single note sounds and the internally preset resistors that handle the role of the (missing) VOLUME 1 control on a II-C+ are, as mentioned above, of slightly higher value to achieve
a thicker, rounder single note signature. Channel 3’s character is therefor a little warmer, fatter and compressed and this plays well
into its intended application for lead work of all styles and gain requirements.
Channel 2 is the JP-2C’s Crunch generator. This Channel is all about aggressive, tight overdriven rhythm sounds
Channel 3 is created with soaring lead sounds in mind. It’s first priority is to meet and even exceed the incred-
PULL GAIN & PULL PRESENCE
circuit, we’ve modified the PULL SHIFT Features layout of the original II-C+ to both simplify and enhance both high gain Channels 2
and 3. All PULL SHIFTS that affected and were possible in the original II-C+ LEAD Mode are permanently activated here in with the
exception of the BASS SHIFT found on the original’s BASS control. This includes VOLUME 1 PULL BRIGHT, TREBLE SHIFT, PULL
DEEP (found on the MASTER control) and LEAD BRIGHT (from the deleted here) LEAD MASTER. This combination is historically
the most popular among savvy MARK II-C+ aficionados and was always SHIFTED when customers and Artists were polled, along
with the fact that was always the best sounding combination to our own ears and hands.
In addition to these changes to the original circuit, we have added two new PULL SHIFT options on the JP-2C. A PULL GAIN on the
GAIN control and a PULL PRES (shift) on the PRESENCE control.
PULL GAIN increases the setting of the (deleted and internally fixed) VOLUME 1 control by approximately one number setting’s
worth… in other words, just a little bit. This means that it is added to the already preset amount of gain/drive that is in place when the
pot is NOT pulled out. This increase is also relative to the Channel’s preset gain orientation, in other words, the setting of Channel
3’s PULL GAIN when activated will be approximately one number setting higher than that of Channel 2’s PULL GAIN activated. In
both Channels this PULL GAIN feature allows a little boost of gain for specific parts or musical styles.
In addition to the VOLUME 1 and LEAD MASTER control deletions from the original
PAGE 3
The PULL PRES feature located on the PRESENCE control allows two very different Presence frequencies to be selected. When
PULLED, the time-honored frequency we have used for 45 years appears, which allows control over a much higher range of top end
than that of the TREBLE control. When left PUSHED-IN, the PRESENCE control operates on a lower frequency that is still above
the TREBLE, but adds “increased cut and focus” lower than the traditional PRESENCE that in some applications can sound more
cohesive for high gain Crunch rhythm sounds.
Because of the different frequencies involved and where they appear in a well blended ratio on the taper of the PRESENCE pots
in Channels 2 and 3, there is usually a need for readjustment of settings between the two (Pushed and Pulled) Presence Modes.
The deactivated PUSHED-IN Mode will require you to set the PRESENCE control higher to achieve a balanced (open) sound, while
the PULLED-OUT Mode will require you to decrease the PRESENCE control to blend in these higher frequencies and achieve a
warmer sound. This is because in most cases, the higher a frequency is, the more it can begin to sound detached (buzzy) from the
fundamental notes and their related harmonics in the spectrum. The original (higher) PRESENCE frequency aboard “Boogies” has
historically found the control set below 11:30 by most players to produce a balanced, warm sound. The new lower frequency option
can be introduced in larger amounts since it’s closer to the rest of the frequencies in the spectrum and seems less detached.
5-BAND GRAPHIC EQ x 2
for the two 5-Band Graphic Equalizers. This 3-position toggle allows assignment of either of the EQs to any of the three Channels,
with the upper position engaging EQ 1 and the lower position employing EQ 2. The center position of the EQ switch bypasses the
EQ section and the Channel’s rotary Tone controls are the only equalization active when the switch is set there.
The 10 EQ Faders (pots) that make up the two separate 5-Band Graphic Equalizers are housed in the EQ Window section of the
Front Panel. Along with them, this section contains control switches for four other Functions/Features. These are the Effects Loop,
Reverb, Channel Select and the SHRED Voicing Mode. This convenient placement alongside the EQ Faders in this Window allows
you to dial in your individual sounds and selections quickly and in one place, so that when storing the settings you have arrived at
for a given sound under a Midi Program number, there isn’t the need for a lot of jumping around on the Panel. That is of course after
you have chosen a Channel and set the rotary GAIN and Tone controls to your liking.
FX (Eects Loop)
REV (Reverb)
FS (Footswitchable from the JP-2C Footswitch) and ON all the time (and Midi assignable).
This 2-position switch brings on line the Effects Loop the choice of IN all the time or Bypassed.
The global REVERB switch in this section of the the JP-2C offers three choices; OFF (Bypassed in All Channels),
CHANNEL SELECT
nected or not present. Channel 2 is the “default” Channel for the switching matrix and therefore, when the switch is in the “Center Off”
position, Channel 2 is triggered. Move the toggle to the upper position to access Channel 1 and the lower position to access Channel 3.
SHRED
LEAD Mode that further enhances the harmonic layering of the top end. This 3-position switch located to the lower right of the EQ 2
window affects only Channel’s 2 and 3 and adds an additional layer of upper harmonic content in these high gain Modes (Channels).
It is especially beneficial for high gain Crunch Rhythm sounds, as it lends aggression and three-dimensionality to the sound and adds
a harmonic haze that rides atop the fat, grinding wall of gain nicely.
The JP-2C incorporates this new voicing feature in the high gain Channels not present in the original MARK II-C+
As mentioned above, the ONLY switch in each of the three Channels is the assignment switch
This 3-position toggle allows manual access of the 3 Channels when the JP-2C Footswitch is not con-
For single note solo work the SHRED feature adds a smoldering, sizzle and brings the sound forward for some truly fiery lead sounds
with supreme urgency. SHRED can be tamed for this application by working with (reducing/balancing) both TREBLE and PRESENCE
controls to soften the attack region and take some of the “pointiness” out that SHRED can add to arrive at some really amazing solo
textures that have a soaring, boundless quality.
NOTE: Avoid setting the TREBLE high (above 2:00) when the GAIN is to be set high as this brings about the tendency for a slightly
microphonic tube to ring or squeal.
SHRED is also extremely well suited for instruments built from darker sounding woods such as Mahogany, Basswood, and/or shorter
PAGE 4
scale lengths. These guitars can really benefit from the “openness” SHRED can impart on the sound. Even Alder guitars, with their
midrange punch and focus and higher bottom end signature, can put the SHRED Mode/Feature to good use.
This new voicing Mode adds even more versatility to the already powerful array of sounds in the Encyclopedia of Heavy that is the
JP-2C. And with the ability to have it active on one or both high gain Channels and combine that with your no-compromise EQ choices,
you can now craft the ultimate Crunch rhythm and Lead sounds in the same amp and switch instantly between them. Freedom!
Overview: Rear Panel
REVERB
may be set with its own blend of the rich all-tube REVERB and the status stored along with Channel and settings choices under Midi Programs.
HEADPHONE OUT
PHONE Output were available so this is also included. This Cabinet Simulated Stereo ¼” Output captures the entire sound of the
amplifier–power section and all–and includes the cabinet simulation circuitry of the CABCLONE’s DI Output. This HEADPHONE
Output makes for convenient and inspired practicing in environments where the sound of a speaker cabinet cannot be used.
SLAVE
untreated signal. This is not to be confused with a “Shaped, EQ’d, Speaker Compensated or Impulse Response” signal/sound that
would be appropriate for interfacing with a Console for either recording or live reinforcement. This signal is intended for adding additional power in live applications or driving processing racks for feed to additional (external) satellite amplifiers and cabs.
SPEAKER
impedance ratings have been provided for and you should be able to accommodate most any reasonable cabinet setup with this
combination of jacks.
CABCLONE™ D.I.
Direct recording without the need for mic-ing, although you can do that as well for a blend of live speaker and Direct sounds. The
full compliment of Voicing options from our stand-alone CABCLONE has been included here; CLOSED BACK, OPEN BACK and
VINTAGE, and this greatly increases the versatility of this feature for different sound styles. Other features aboard here in addition to
the balanced XLR Output include Speaker MUTE, an Instrument/Line LEVEL switch and GROUND/LIFT options.
The usual MESA array of individual, Channel specific REVERB controls kicks it off to the left side of the Rear Panel. Each Chanel
Since the JP-2C contains our CABCLONE™ D.I. Recording Interface, all the elements for a great HEAD-
A standard ¼” SLAVE Output provides a signal also captured from the SPEAKER Output, but in this case it is the raw,
The standard array of SPEAKER OUTPUTS is provided for the interfacing of your favorite cabinet. All the common
Here in the JP-2C we’ve included our popular CABCLONE™ D.I. Recording Interface for convenient
NOTE: When using the SPKR ON position, make SURE you have a working speaker connected to one of the SPEAKER OUTPUTS.
Failure to do so may result in damage to your amplifier that is not covered under Warranty. Using the amplifier in the SPKR ON position without a speaker or external load (resistor, soak, etc) connected will likely cause damage to your output transformer and render
your amplifier inoperative. Damage caused in this manner will not be covered under warranty.
FTSW and MIDI
OUT are included for true connectivity and a number of ways to access the amazing sounds and pro features in the JP-2C. A STORE
toggle switch allows simple one-touch writing of your desired sounds in all the Channels to any of 256 Midi Program Numbers. There
is also a Midi Channel mini Rotary Selector for syncing of the Midi Channel to be used by your Controller of choice.
Three DIN jacks, one 7-Pin for the JP-2C Footswitch, and two standard 5-pin DIN jacks for MIDI IN and THRU/
PAGE 5
GETTING STARTED
1. After unpacking the amplifier, check to make sure all the tubes are firmly seated in their sockets as some may have loosened
a bit during shipping.
2. Connect the A.C. Cord to a grounded (3 pin) A.C. outlet.
3. Unpack the JP-2C Footswitch and connect the 7 pin DIN Footswitch cable to the FOOTSWITCH DIN jack on the right side
of the Rear Panel. If you intend to use a Midi Controller to access the Channels and Features, connect your Controller (or
Computer) to the Midi IN jack on the JP-2C Rear Panel.
4. Connect your speaker enclosure to the proper matching impedance SPEAKER OUTPUT on the left side of the JP-2C Rear
Panel. An 8 Ohm load is preferable for your first experience with an amp this dynamic and explosive as you will hear the full
power potential and best Tonal balance. .
5. Flip the POWER Switch to the POWER (up) position while leaving the STANDBY Switch in the STANDBY position for at least
30 seconds. This allows the filaments to warm up in the tubes before being put to use. Following this cold-start procedure
every time you power up will increase the toneful life of your tubes.
6. If you intend to connect processing devices to your loop, do so now and look up EFFECTS LOOP for proper connection and
operation, although we recommend auditioning the JP-2C without processing for the first time. If the Loop is to be in, check
the INPUT levels on your processor to make sure they are in the medium to lower range so you can increase the level slowly
once you have lifted STANDBY on the JP-2C and run through the Channels to view the SEND level coming from the amp.
7. Follow the Sample Settings examples below and set the Controls at these approximate settings for a tour through your new
world of TONE. Remember these are just a glimpse at the vast possibilities and are meant to give you a taste of one possible
way to set up your Channels. Feel free to fine tune the sound as you go...you can’t hurt a thing and you will be learning by
feel...the best way.
8. Flip the STANDBY to the ON (up) position and enjoy the ride!
INSTANT GRATIFICATION
In case you haven’t yet played your new amplifier, below is just one example of the many ways
to set up the Channels. This example demonstrates a pristine Clean sound in Channel 1, a heavy Crunch Rhythm in Channel 2, and
a burning high gain lead tone in Channel 3. This just happens to be not only the most popular application of the Channels, but also
is very close to the set up–and settings–John himself uses in the Channels of his JP-2C.
Instant Gratication Settings
INPUT
™
CH 1 CH 2 CH 3
GAIN
TREBLE
EQ 1
MASTER PRESENCE MASTER MASTER
FSMD FS FSMD
BASS
EQ 2
PULL GAIN
TREBLE
EQ 1
PULL PRES PULL PRES
MD
MIDMID BASS
EQ 2
PULL GAIN
TREBLE
EQ 1
MID
BASS
EQ 2
FX
MD
1
EQ
REV
80Hz 240 750 2200 6600 80Hz 240 750 2200 6600
MD/FS
CH 1
FS
MD
CH 3
EQ 2
SHRED 2
MD
SRD 2+3
2
POWER
STANDBY
I
O
I
O
PAGE 6
HELPFUL HINTS
NOTE: REDUNDANT INFORMATION: Throughout this Operating Guide you will encounter redundant information and sections that
are repeated for your continued awareness and as reminders. This is done so a person can read only the sections they are interested
in, and yet still get the important points they should know or NEED to know about the JP-2C. We apologize if this gets annoying for
the cover-to-cover reader (often our most loyal fans and MARK aficionados), but even they may appreciate it some time in the future
when referencing this Guide quickly for a specific topic.
• Beware of high settings on the BASS control in Channels 2 and 3, especially when the GAIN is set high. Too much BASS will pro-
duce a flubby, indistinct attack and “slow” the response time. A basic rule regarding the BASS control might be this; As the GAIN
goes up...the BASS should come down.
• The GAIN and TREBLE Controls are the most powerful tone shaping controls in each Channel and should be used with taste.
They determine much about the attack characteristic and the overall personality of the sound in all the Channels. Many of the great
sounds in all the Channels will find these two Controls in their middle ranges.
NOTE: Avoid setting the TREBLE high (above 2:00) when the GAIN is to be set high as this brings about the tendency for a slightly
microphonic tube to ring or squeal.
• When using high GAIN settings try the EQ for adding extra top end as it comes later on in the signal chain and will be less stressful
on the preamp tubes in many cases. Remember the JP-2C is a high performance amp in every sense. Just like a highly tuned car,
you don’t need to drive it “wide open” to have fun. You can get amazing performance in the middle ranges of all the controls. Yeah
sure, there are times when you are going to run flat out...but just like the car needs special tires to run flat out, it takes a special
(and rare) set of preamp tubes to do that without experiencing microphonic problems (ringing, squealing, etc.) .
• For the best clean performance with the sweetest, most balanced sound, we suggest setting the MID in Channel 1 below 11:00,
with many players preferring it much lower, say 9:00 or even all the way down. You can also think of it this way; 12:00 on the MID
here in Channel 1 is like “10” (or all the way up) on most other amplifiers. So if you usually set your MID control at around 11:00 on
most other amps, try setting it at 8:00 - 8:30 here on the JP-2C.
• The PRESENCE, whether the PULL is activated or not–as it affects the sound in much the same way in both Modes–is very pow-
erful at shaping the voicing of high gain sounds in Channels 2 and 3. Set low it fattens and compresses the sound, making for a
more voice-like focused note(s). Higher settings “open up” the sound and allow the full spectrum of harmonics to flow through. Use
this control to fine-tune the top end overall in your Crunch Rhythm and Lead sounds after you have dialed the rest of the preamp
controls to your liking.
• Your JP-2C will sound better and feel better to play if you have at least one speaker cabinet touching the floor you are standing
on while you play. The coupling effect and especially the transmission of bass frequencies will cause the amp to sound fatter and
the strings to feel more substantial and tangible when the amp (or cab) sits on the floor. Wood floors (like stages) are really great!
Let’s face it... the guitar can be one of those weird instruments that rarely feels the same way two days in a row, night to night, from
room to room... and we can use all the help we can get. This usually helps... with the only exception being a stage filled with too
many live mics...sometimes then you are forced to lift the amp to avoid the coupling effect.
• To store amplifier Channel/EQ/Reverb/SHRED and FX LOOP information under a Midi Program number, simply go to the desired
Midi Program number location using your Midi Controller or Computer/Sequencer, choose a Channel on the JP-2C, add the
desired EQ (or not), Set your Reverb mix, and toggle the STORE mini-toggle located on the right side of the JP-2C Rear Panel.
You’re done. The Channel and related amplifier information will now come up every time that Midi Program number is selected.
• Use the STANDBY switch every time you power-up (from cold or hot), during set breaks, cable hook-ups and anytime you are not
playing for a few minutes. Doing so will increase the toneful life of your tubes.
PAGE 7
FRONT PANEL
THE CHANNELS
As mentioned in the OVERVIEW, the JP-2C forgoes the long-standing MESA concept of selectable Modes within its 3 Channels and
instead focuses in on three globally accepted necessary sounds with those being Clean Rhythm, Crunch Rhythm and Lead. Therefore, each of the three Channels is optimized for its sole purpose in achieving the ultimate performance in each of these three realms.
CHANNEL 1
headroom. To achieve this goal some of the “normal” things we strive for and consider in our other amplifiers are left on the table here.
The most important of these is the ability to obtain overdrive from the preamp, still keeping in mind the circuitry is basically “vintage
architecture” and therefore creates a low gain “mode”.
Channel 1 is not meant to obtain overdrive. In fact, quite the opposite, it is designed with the intention of avoiding clipping in the
preamp stage. The whole goal here was to give John, and now you, a clean sound that will remain “clean” and devoid of clip past
the point where the original MARK II-C+ would begin to clip or overdrive. There is still the potential to clip the output section, but with
a massive transformer and 100 watts of power on board, that will be a relatively loud exercise and possibly not one with the desired
results. The JP-2C is intended to provide a pristine clean sound for Intros, Breakdowns or any other rhythm part that needs to be
really sparkling clean with virtually no hint of clip. Now conversely, there is a limit to how loud a volume can be achieved even with
this robust power section, but the PREAMP does feature increased headroom in the early stages and that will keep the signal feeding
the driver and power sections cleaner longer than any of its MESA siblings or ancestors.
As far as settings go, there are no real danger points or guardrails to hit… Channel 1 dials up really friendly and fairly obvious. Perhaps
start with the GAIN around the 12:00 noon range and increase or decrease from there to find the desired blend of low end richness
and top end sparkle. A good rule here is that the lower the GAIN setting (below 12:00), the brighter and thinner the sound will be,
whereas higher GAIN settings (above 12:00) will unveil a richer, thicker, warmer mix with less emphasis on top end harmonics and
brightness. There are no real bad settings to be worried about for the most part.
Do keep in mind though, that BASS and/or lower frequencies take more power to reproduce cleanly than do treble or upper frequencies. So the more BASS or bottom end from the EQ Sliders you dial in, the sooner the power section will be unable to reproduce
them without the potential for clip. So if you are looking for the absolute cleanest response at the highest volume level, dial in lower
frequencies with a degree of finesse. This will help you attain the best performance with that criteria in mind.
This Channel is dedicated to one thing pure and simple; attaining the Cleanest sound possible with the maximum
The only other thing to keep in mind for the best clean performance is that the MID control used within Channel 1 is of the same
value as that of our amplifiers that feature the MID/BOOST feature. That means that, while the JP-2C is largely unable to utilize this
higher value MID for its purposeful clipping potential, it is nonetheless a very powerful MID control. Higher settings (above 12:00)
will dump a very large amount of midrange frequencies into the mix and can cause the sound to become pointed or unbalanced if
other compensations and/or considerations aren’t made. For the best clean performance with the sweetest, most balanced sound,
we suggest setting the MID in Channel 1 below 11:00, with many players preferring it much lower, like 9:00 or even all the way down.
You can also think of it this way; 12:00 on the MID here in Channel 1 is like “10” or all the way up on most other amplifiers. This is
true on most older amplifiers (ours and other brands) and definitely on original MARK II-C+s.
CHANNEL 2&3
so slightly higher gain due to a higher value for the internally preset (missing as compared to a MARK II-C+) VOLUME 1 Control.
This difference optimizes Channel 3 for single note Lead work and makes the response a little more fat and round sonically and more
legato and creamy feel-wise.
Certainly either Channel can be used for any manner of high gain application–or even lower gain application as well–but for John,
and many other players that need a high gain Crunch rhythm and a soaring Lead sound, you will most often find that Channel 2 is
great for Rhythm and Channel 3 is better tuned for Lead.
These are the two high gain Channels and they are identical save for one small difference; Channel 3 is ever
PAGE 8
The Controls operate exactly the same for both Channels and there is only one tip that we might suggest to save you time and help
you arrive at great sounds fast; avoid high Settings of the BASS control. Especially when the GAIN control is above 12:00. In other
words, as the GAIN goes up, the BASS should come down. This simple settings “rule” helps you avoid the only real settings pitfall of
the MARK Series circuit; the BASS control comes pretty early in the signal chain and large amounts of BASS dialed in there create
a flubby indistinct attack and a bloated, unbalanced sound. By avoiding high BASS settings you will ensure a tight, focused attack
characteristic and an immediacy in response. With this Tone trap avoided, you’ll be in for some of the most aggressive and harmonically layered, musical and rich guitar sounds ever. Again, with an amp that has this much Gain, you have to use taste, make small
moves and apply balance in all areas of your settings in the sonic spectrum and the signal path. Let the gain and the controls work
for you, not against you. If you follow this line of thinking you’ll have no trouble dialing in amazing sounds quickly in these two high
gain Channels.
PULL GAIN
have added both in reponse to John’s questions and wish list of features. The PULL GAIN allows a slight BOOST… what amounts
to a number more, on the (missing here) VOLUME 1 Control as it applied to the original MARK II-C+. Again, that control is preset
internally after MUCH testing and consideration as to John’s requirements and our own feelings about the optimum setting of this
sensitive part in the circuit.
To describe what occurs in the pushed-in and pulled-out Modes in MARK II-C+ terms, it is basically like having two VOLUME 1 settings;
In Channel 2–the slightly lower gain “Crunch Rhythm Channel”–that offers the un-activated, pushed-in setting of about 6.0 (or 1:00)
and the activated PULL setting of 7 ¼ (or 2:15) or so.
In Channel 3–the hotter “Lead Channel”–it shakes out like this; an un-activated, pushed-in setting of approximately 7 ½ (or 2:30) and
the activated, PULL setting of 9.0 (or 4:00).
The settings are referred to here as “approximately” or “about” because no two pots are ever exactly identical resistance-wise, and
there is a fair amount of play in the older MARK II-C+ Pull Pots, so the number settings are general reference points and are approximate. The actual settings here in the JP-2C are achieved with a network of resistors per Mode (internally preset “missing” pot)
with values that were arrived at through relentless scrutiny and are very precise.
PULL PRESENCE
applied to the two high gain Channels. This difference can be very useful for tuning the Channels to either Crunch Rhythm sounds
or a voice and feel that is silkier sounding and more inviting to play for lead work. Before we go any farther with descriptions though,
a quick detour; it is imperative you understand this important operating tip.
This feature, along with the PULL voicing on the PRESENCE controls, was not on the original II-C+ amplifiers. We
This feature allows you choice of two different PRESENCE Voicings (both frequency and response) to be
NOTE: The Two PRESENCE Modes Set Up Very Differently! Pushing and Pulling Will Probably NOT Give You Two Great Sounds!
You Need To Set The PRESENCE Control Differently For Each Voicing Mode! See Below “Setting”!
PUSHED-IN: The un-activated, pushed-in Mode is a new sound for the II-C+ circuit and features a circuit that accentuates a lower
frequency than our traditional PRESENCE circuit. It hits harder in a zone just above the TREBLE control’s region and allows for a
more aggressive, tighter attack response. This works well for Rhythm, where you need definitive placement in the time domain and
more punch and articulation. The harmonics top out earlier and are a bit more blended in this Mode. This also works well for single
note sounds where you don’t want a lot of harmonic content and instead prefer a tightly focused, more cohesive sound. This Mode is
also the “anti-buzz” or “tightly attached harmonics” Mode. This is opposed to the top end harmonics becoming a bit more detached.
There are times when you don’t want that separation or its three dimensional characteristics and instead want a focused, chest-kicking
voice. It can also have merit for lower to medium gain sounds for both rhythm and single note work. For Classic Rock gut-punch or
Blues solo sounds where you really want to jab and punctuate.
SETTING – PUSHED-IN: You will need to set the PRESENCE higher for this Mode. The frequencies are lower and appear darker
and more cohesive, especially when switching from PULL Mode. Set the Presence to approximately 1:00 and adjust from there to
taste and feel.
PAGE 9
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