Mesa/Boogie King Snake 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.
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. Export 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.
Table of Contents
PRECAUTIONS ____________________________________________________________________________ 0
OVERVIEW _____________________________________________________________________________ 1-3
INSTANT GRATIFICATION, HELPFUL HINTS ______________________________________________ 4-5
FRONT PANEL CONTROLS & FEATURES
VOLUME 1 ________________________________________________________________________________ 6
VOLUME 2 ______________________________________________________________________________ 6-7
MASTER __________________________________________________________________________________ 7
TREBLE ________________________________________________________________________________ 7-8
MID/BOOST ____________________________________________________________________________ 8-9
BASS _____________________________________________________________________________________ 9
MULTI-WATT™ POWER _________________________________________________________________ 9-10
STANDBY ________________________________________________________________________________ 10
POWER __________________________________________________________________________________ 10
REAR PANEL CONTROLS, SWITCHES & JACKS
FUSE ____________________________________________________________________________________ 11
REVERB FOOTSWITCH ___________________________________________________________________11
SEND LEVEL (EFFECTS LOOP) _____________________________________________________________ 11
SEND/RETURN (EFFECTS LOOP) __________________________________________________________12
SLAVE LEVEL AND OUTPUT _______________________________________________________________12
PRESENCE ____________________________________________________________________________ 12-13
SPEAKER OUTPUT ____________________________________________________________________ 13-14
FACTORY SAMPLE SETTINGS ______________________________________________________________ 16
PERSONAL SETTINGS ____________________________________________________________________ 17
DIAGNOSING TUBE PROBLEMS ________________________________________________________ 18-19
SPEAKER IMPEDANCE MATCHING AND HOOKUP GUIDE ________________________________ 20-25
TUBE TASK CHART _______________________________________________________________________ 26
PART SHEET _____________________________________________________________________________ 27
Owner’s Manual & Operating Guide
VOLUME 1
VOLUME 2 MASTER TREBLE MID/BOOST BASS
10 WATTS STANDBY POWER
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NAKE
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In 1971, at the crossroads of Vintage and Modern amplified guitar sounds, stood two pioneers, Randall Smith and Carlos Santana,
and the little amp that could... the Boogie®. The passion, creativity and dedication of these two artists intersecting at that revolutionary time in music history can only be called fate, and the resulting impact on the guitar’s voice will be felt forever more. With so many
FIRSTS, it set the world’s pro guitarists on their collective ear; the Boogie ushered out the old notion of a guitar amp and transformed
it once and for all into a legitimate instrument.
The Compact 100 Watt 1x12 Combo, Tube Cascading High Gain Preamp (SUSTAIN), Half Power Switch (100/60), Pull-Gain Boost,
On-Board Graphic EQ, Slave Out, , Custom Hardwood Cabinetry and a Wicker Cane Grille were all innovations seen exclusively on
the world’s first boutique amplifier by the world’s first boutique amp builder, Randall Smith and MESA Engineering®.
The Limited Edition KING SNAKE™ you have chosen is legendary in both sound and story because it is the direct descendant of
the original Boogie that stood alone at that intersection so long ago. That amp was the transitional link between the low gain single
channel amps of yesteryear and today’s high gain, multi-channel footswitching amplifiers.
Before the Boogie® MARK I™, players had to turn an amp up really LOUD to get overdrive and sustain from power section distortion.
With the creation of the world’s first high gain tube preamp in 1970, found only in the little Boogie by MESA Engineering, players could
achieve sustain and singing tube overdrive at any volume. Revolutionary! The rest is history – but it is correct to say that the little high
gain, high power 1x12 Boogie Combo changed guitar and popular music forever. But the story doesn’t end there!
This model is a tribute to the amp Carlos Santana toured with in 1972/73, right down to the unique chassis size and the aged Snakeembossed leather covering. But it’s also been updated to include some of our most secret Tone discoveries uncovered throughout the
43 years since the original’s creation. These improvements, some visible and some hidden, increase the performance and versatility
while recreating the original voice with full authenticity. They make the King Snake™ more usable across a wider range of musical
styles and power requirements, and add exciting new possibilities for expression and enjoyment.
FRONT VIEW: King Snake
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CAUTION:
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SLO
AMPLIFIER
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KING SNAKE
VACUUM TUBE AMPLIFIER
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IN PETALUMA, CALIFORNIA
HANDCRAFTED
100 WATTS ON ON
10 WATTS STANDBY POWER
K
BLACK FACE
TWEED
8 OHM
USE WITH
100
W CAB
USE WITH TWO
8Ω SPKRS, & 100
4 OHM 4 OHM
60
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W
NAKE
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USE WITH COMBO
8Ω SPKR, & 60W
™
TUBE GUIDE
4 x 6L6
5 x 12AX7
PATENTED
7,173,488
7,412,064
OTHER PATENTS
PENDING
PAGE 1
OVERVIEW
The KING SNAKE features the original Boogie MARK I single-channel preamp that includes two different Inputs, one for traditional
lower gain performance (Input 2) and one for higher gain all-tube overdrive (Input 1). Each of these Inputs has its own dedicated VOLUME Control responsible for the amount of gain at that stage in the preamp. Input 2 gives you access to traditional lower gain Clean
sounds and is also the Carlos’ preferred Input for his single note solo sounds. His applications are covered below in more detail. Input
1 accesses an extra tube stage in front of Input 2’s more traditional gain stages to deliver even higher gain, sustain and saturation.
When plugged into Input 2, its associated VOLUME 2 Control determines the amount of gain available from the preamp. When
Input 1 is chosen, an additional tube gain stage is activated and both VOLUME 1 and VOLUME 2 are on line and can be blended
to create the preferred amount of overdrive. The best results are usually found with VOLUME 2 set a little higher than VOLUME 1.
This scheme produces richer, warmer saturation and reduces excess harmonic content that might create a layer of loosely attached
higher frequency sizzle with some instruments. This can be desirable on occasion, but setting VOLUME 2 lower than VOLUME 1
should be reserved for those times when you are looking for a brighter voice with added harmonics.
Original Mark I’s were shipped with a harness to achieve rudimentary channel switching with an external A/B box. Modern performance expectations would consider this inadequate, so we’ve focused instead on optimizing the SNAKE’s single channel performance. We don’t recommend trying to “channel-switch” the SNAKE with an external A/B box as pot tapers have been altered from
Original MARK I spec to achieve this single channel optimization.
The standard array of Tone Controls shapes the KING SNAKE’s soulful gain with one new and significant improvement; What was
previously a switchable On/Off Gain Boost feature on Carlos’ original MARK I appears here on the KING SNAKE as an adjustable
MID/BOOST, integrated into the MID Control. From 0 to 5.0 on the MID/BOOST you will find the normal range of a standard MID control in a condensed form. From 5.0 to 10.0 on the MID/BOOST a wonderful graduation of overdrive possibilities unfold that enhance
gain over a wide midrange spectrum and saturate with increasing thickness.
This simple but incredibly powerful (and patent applied for) MID/BOOST feature allows you to dial in additional gain into either Input’s
signal path ranging from subtle enhancement to substantial overdrive. The incremental saturation is perfectly suited for adding extra
fur to “edge of clean” sounds, helping them transition smoothly into clip with player-directed dynamics and authenticity. It broadens
the stylistic range of Input 2 and for some players, will be all the overdrive they ever need, especially when the upper range of the
MID/BOOST is combined with the 10 or 60 WATT Power Modes. For those needing extreme saturation the MID/BOOST may also
be applied to Input 1 to thicken and liquefy, but apply the MID/BOOST with care here as it can easily push things beyond reason,
compromising both attack and balance.
Another powerful weapon the KING SNAKE wields is our patented Multi-Watt™ Selectable Power. Multi-Watt allows you to perfectly
tune the output power to both preamp styles and venue requirements and can add power clip at more usable volume ranges than
would otherwise be possible. On the KING SNAKE, the three-position Multi-Watt switch offers a choice of the full 100 watts of Class
A/B power produced by all four 6L6s, 60 watts of Class A/B power that runs the inner two 6L6s and 10 watts of Class A Single-Ended
power running the two left-most 6L6s for the ultimate in sweet, clip-able power.
The Single-Ended wiring configuration in 10 watts showcases the even-order 2nd Harmonic and adds to the KING SNAKE’s vintage
character, helping the layers “line up” with old school, low-wattage amp magic. This Multi-Watt setting actually DELIVERS the power
expression you’ve been hearing in your head - you know… that haunting power clip you imagine–but that never seems to be quite as
good in reality when you sit down with a coveted vintage gem. In this amp it’s the power clip dream fully realized! You’ve gotta’ play
the KING SNAKE in 10 Watts to believe it. It really is that good.
Another pioneering and powerful update is the addition of our new Switchable Presence Circuit. This feature, seen here for the first
time on the KING SNAKE, allows you to choose between two classic Presence circuits we refer to as TWEED and BLACKFACE.
These different Presence schemes offer opposite response curves and re-voice both frequency and dynamic characteristics of the
power section.
PAGE 2
BLACKFACE produces a warmer, more compressed character that rounds out single notes, giving them more envelope and “pop”
on their attack and smoothness on their decay. This is Carlos’ preferred setting and the Presence circuit used on his original MARK I
Snakeskin. TWEED brings the KING SNAKE’s response forward and features lightning fast attack, substantially more top end (higher
up) and tightens the low end, allowing it to track better. TWEED showcases upper layers of harmonics that you didn’t even know were
there before switching out of BLACKFACE and adds the grind and shred needed for more aggressive gain sounds. This switchable
re-mapping of both circuit and sound allows the KING SNAKE to command a split personality and excel at both vintage and higher
gain sounds. Set for clean or high gain, it pays even further tribute to its original role as a link between the amps of yesteryear and
what’s happening today.
Of course, what would a re-creation of this iconic amp be without amazing Reverb? Not to fret, the KING SNAKE has ‘Verb... miles of
it! And it’s all about vintage. We’ve voiced the all-tube, three-spring, long tank Reverb to include just the right amount of old school
vibe. Depth, harmonics, decay time and a pinch of mechanical “spring artifact” come together to produce a lush, deep ambience that
sounds great as a subtle enhancement or a featured effect. Crack it on for added dimension in a small room or spool it up for a surf
holiday. Either way, you’ll appreciate the KING SNAKE’s retro-inspired Reverb.
A Series Effects Loop is fitted to the Snake’s Rear Panel that incorporates an adjustable SEND LEVEL control. This allows fine-tuning
of the Send strength so it can be optimized to the Input of either rack-mount or pedal type effects. Start with the SEND LEVEL control
all the way down and increase it slowly until the optimum Input signal is reached for your individual effect unit. The KING SNAKE has
more than ample SEND strength so don’t be surprised if you find an optimal setting in the lower region of the SEND LEVEL control
(9:00-11:00). As always, overdrive, compression and wah pedals usually perform better when used between your instrument and
the KING SNAKE’s Inputs – not in the Effects Loop. And for the purist who prefers to keep it simple and straightforward, the KING
SNAKE’s Effects Loop remains Hard Bypassed and completely out of the signal path until cables are inserted into the LOOP jacks.
A SLAVE OUT jack and LEVEL Control allow you to capture the entire sound of the preamp and power section for sending it on to
additional power amps & cabinets for large venue applications.
And finally, we are proud to announce the worldwide debut of the Fillmore KS-100 Speaker - the second release in our exciting new
line of FILLMORE™ guitar speakers! After working with companies from around the globe for the last 9 years and scrutinizing over
500 prototype samples, our long-time friends at Eminence Ltd. delivered in spades (Go USA)! Our obsession and their diligence
have combined to create several new speakers, Handmade in the USA, that rival (and surpass) the best of our golden-era British
references. The KING SNAKE’s soul and voodoo are greatly enhanced by our new Fillmore KS-100 and it’s the perfect compliment
to the classic Santana sounds while remaining toneful and versatile for many other styles. We’re really excited to share these new
speakers with the world and feel we’ve broken through to a new era in great speaker Tone.
The KING SNAKE is the celebration of the wonderful 40+year relationship we’ve enjoyed with Carlos Santana as well as the commemoration of a defining moment in electric guitar history. This limited number of amplifiers will stand as testimony to two musical
Icons – one in the limelight, one behind the scenes – who REALLY CARED about their art form and their legacy. We sincerely hope
you enjoy this special amplifier and get many years of inspiration from its sound and performance. May it carry your playing to new
heights and open the doors to opportunity for you as it has done for its namesake.
PAGE 3
INSTANT GRATIFICATION
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VINTAGE CLEAN
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VOLUME 2 MASTER TREBLE MID/BOOST BASS
CLASSIC MK I LEAD
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PRESENCE = BLACKFACE @ 2:00
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100 WATTS ON ON
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HELPFUL HINTS
CLEAN
The best performance for Clean sounds will be found in Input 2 with the VOLUME 2 Control set between 4.0–6.75. The lower end
of this range (4.0–5.5) will offer greater headroom and more top end brilliance and sparkle. The upper part of this range will provide
more (low to medium-mid) punch and richer low end with slightly diminished sparkling clean headroom. Keep this in mind especially
when using humbucking or hotter single coil pickups. Below this range there will be a substantial reduction in gain available. Above
it you will begin to incrementally saturate the preamp and introduce tube overdrive.
OVERDRIVE: INPUT 2 (Clipped Clean/Carlos Santana Lead)
For Overdrive sounds in Input 2, set the VOLUME 2 control between 7.0–10 and the TREBLE control between 7.0 and 7.5 (or slightly
above). This will introduce more gain and focus to the “clean” circuit of Input 2 and provide the best overdrive characteristics. Use
the PRESENCE control in either Mode (BLACKFACE or TWEED) to reduce brightness if necessary. The MID/BOOST is designed
to augment Input 2’s overdrive performance and may be used in the 5.0–10.0 range to add additional gain across a broad midrange
spectrum and more evenly saturate the notes.
One of the sounds Carlos Santana has made so famous with MARK I’s exists here in Input 2 with the controls set this way: VOLUME
2 -10.0, TREBLE = 7.0, MID/BOOST = 10.0, BASS = 7.0, MASTER = 3.0–5.0, PRESENCE (Set To BLACKFACE) = 5.0–8.0.
CARLOS SANTANA LEAD TONE
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NOTE: Carlos uses a BASS setting that is very high–it works for him in his set-up–but can produce a bloated sound on the lower (E
and A) strings if you don’t use a fairly light touch down in that register. Try using the BASS below 5.0 to avoid this.
OVERDRIVE: INPUT 1
Input 1 accesses an additional tube stage in front of Input 2’s “vintage” gain structure responsible for additional Drive capability. When
your instrument is connected here, both VOLUME 1 and VOLUME 2 are active. This drive sound is a blend of gain from these cascad-
PRESENCE
BLACK FACE
TWEED
8 OHM
USE WITH
100W CAB
4 OHM 4 OHM
USE WITH TWO
8Ω SPKRS, & 100W
USE WITH COMBO
8Ω SPKR, & 60W
TUBE GUIDE
4 x 6L6
5 x 12AX7
PATENTED
7,173,488
7,412,064
OTHER PATENTS
PENDING
PAGE 4
ing stages and it’s important to note; SETTINGS ON BOTH VOLUME CONTROLS SHAPES THE RESPONSE. The best overdrive
performance for high gain applications will be found with the VOLUME 2 control set slightly higher than VOLUME 1. This scheme
rounds out the notes and they saturate with an even, balanced response. Doing the opposite and setting VOLUME 1 higher than
VOLUME 2 produces a brighter sound with more harmonics that are more loosely attached to the notes. This can be a nice effect for
some things, but we prefer the richness and balanced blend found when VOLUME 2 is set higher than VOLUME 1.
TREBLE adds some additional gain and focus above 7.0, so if your looking to saturate things just a bit more in either Input 1 or 2,
try somewhere between 7.0–8.0 and then set the PRESENCE lower to warm things back up a bit. It’s not the same frequency, but it
will allow you to take advantage of the boost in gain in the preamp from higher TREBLE settings and still have your sound be warm,
round and not too bright.
THE MID/BOOST control functions as a normal Middle control in the lower half of its range from 0–5.0. Above 5.0, additional gain
and harmonics are incrementally added and when fully maxed at 10.0, single notes are saturated almost completely. This is especially useful in Input 2 when searching for “edge of clean” or pushed sounds for chordal work. It also works well in Input 2 for adding
purring overdrive to single note solo sounds for Blues, Classic Rock and Roots styles where you want the dynamic response of a
clean channel, but want to apply a fair amount of overdrive. This upper range can be a little over-the-top when used in Input 1 (with
the VOLUME Controls set high) and can over-saturate and compromise the attack characteristics. Use the MID/BOOST sparingly
and with taste here.
The BASS control is VERY powerful. When searching for higher gain sounds in both Input 1 and Input 2, or, any time the VOLUME
controls are set above 6.0–7.0, you may need to set the BASS control very low (2.0–3.5) to keep the attack focused, tracking tight,
and to avoid flubby bass. You will usually have better results following this simple suggestion; As The VOLUME (1 & 2) Goes Up, The
BASS Should Come Down. Following this simple advice results in a more balanced sound, response and feel.
The EFFECTS SEND level can be on the hotter side depending on the settings of the two VOLUME controls, the MID/BOOST and
the Tone controls (to a lesser degree). It is wise to begin your Effects interfacing routine by zero-ing out the SEND LEVEL control on
the KING SNAKE’s Rear Panel and increasing it very slowly until reaching the desired SEND LEVEL strength.
Some players will attempt to use an external A/B box and two cables connected to both Inputs to achieve rudimentary Channel
Switching with the KING SNAKE. The original Mark I and the KING SNAKE were never designed as channel switching amplifiers
and while A/B switching can work in a small window of settings, there are MANY more settings and tonal options you’ll likely want to
access where channel switching won’t work well. While this is possible at certain settings, the KING SNAKE is not set-up for Channel Switching operation due to its optimization for a single channel platform. Unlike original MARK I amplifiers, the KING SNAKE will
actually be quieter in Input 1 at most great sounding settings than Input 2. This is due to a dual-element pot on the MASTER that
“follows” your Input choices and uses different elements to achieve a balance in demo settings. Should you insist on attempting a
Channel Switching scenario, using a “clean boost” pedal such as our TONE BURST™ into Input 1 can help to increase the volume
level and achieve a balance between the two Inputs.
PRESENCE: BLACKFACE = WARM, ROUND & LAID BACK
Use the BLACKFACE PRESENCE Mode for a rounder attack with morphing envelope characteristics. BLACKFACE provides a
darker, fatter response with a more breathing low end and substantially less-emphasized top end. This is often the best choice for
single note work that has a vocal quality. It softens and smears the transition to clip and breaks up more smoothly while keeping the
gain tightly focused around the notes and minimizing “buzz”.
PRESENCE: TWEED = BRIGHT, TIGHT & FAST
The TWEED PRESENCE Mode delivers the transient peaks with greater speed and accuracy and is much brighter in character. This
Mode works well for cutting through a mix and showcases an unveiled region of upper harmonics that is not present in the BLACKFACE Mode. It lends a chime-y, sparkling character to clean chording and gives the impression of increased headroom since bright
sounds always travel faster. This upper harmonic region emphasis is critical to achieving more modern high gain sounds and the
speed and forward aggression in the top end of the TWEED Mode should be employed when dialing for sounds in the Heavy realm.
TWEED also keeps the low end tight and focused for high gain work, especially when de-tuned.
PAGE 5
FRONT PANEL CONTROLS & FEATURES
VOLUME 2 MASTER TREBLE MID/BOOST BASS
10 WATTS STANDBY POWER
100 WATTS ON ON
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VOLUME 1:
This control adjusts the gain for Input 1‘s tube overdrive stage, which comes ahead of the Input 2 jack and its tube
stage, architecture-wise. Much like the way an overdrive pedal boosts the gain and saturates the input stage of an amp, the VOLUME
1 control increases the signal strength many times with an additional tube stage “in front of” Input 2’s classic
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gain (which can also be cranked up) to create a thick complex overdrive.
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You can think of the KING SNAKE’s preamp like this; Input 2 accesses a vintage amp that produces traditional gain that is clean below 6.0 and reaches mild clipping and singing drive when maxed out at 10. For
those who prefer the urgency of a “Clean-amp-cranked”, this “vintage gain” can be greatly enhanced by
using the upper range of the MID/BOOST (5.0–10.0) to achieve true all-tube overdrive. Input 1 accesses an additional high gain
tube stage in front of this “traditional amp” accessed by Input 2 and produces anything from a purring “threshold clip” up to completely
saturated overdrive, depending on the setting of the two VOLUME controls. As VOLUME 1 only affects the tube stage for Input 1, it
can be ignored when plugging into Input 2.
As mentioned earlier in the Helpful Hints section, we prefer to run the VOLUME 1 control either equal to, or a little below, the setting
of Input 2 (Example; 5.0 on V1 & 7.0 on V2). For maximum saturation try 8.0 on Volume 1 and 10.0 on Volume 2.
To our ears (and hands) this scenario produces a more focused, smoothly sculpted overdrive that is warm and round and free of
detached harmonic artifacts.
The MID/BOOST is effective for adding additional gain to either Input as it comes later downstream in the signal path, but its main
intended use is for adding additional drive when using Input 2.
NOTE: Using the upper range of the MID/BOOST with higher settings of Input 1/ VOLUME 1 will likely oversaturate the notes and
result in a compromised attack characteristic. Extreme settings may also push the preamp tubes past their limit and can cause microphonic tube noise (a whistle or a high pitched squeal). Avoid excess tube noise and microphonics by using common sense and
apply the MID/BOOST in tasteful amounts when using Input 1.
IMPORTANT! The VOLUME control shapes the Tone of whichever Input you are using and while you should spend some time learning the nuances for yourself, this general rule applies; lower GAIN settings produce less drive and thinner, brighter, more-scooped
sounds. Higher GAIN settings produce more drive and thicker, warmer sounds that have a rounded and more compressed attack.
Using this knowledge and different combinations of the VOLUME controls (1 set low/2 set high, both set equal or 1 set high/2 set low)
and the two Rear Panel PRESENCE choices, you will be able to achieve almost any style and tonal characteristic you wish.
NOTE: The King Snake has SUBSTANTIAL BASS. One other important rule or scheme to follow is this; As the VOLUME (1 & 2) goes
up, the BASS should come down. Adding substantial gain to bass-heavy sounds (or vice-versa) is rarely a recipe for great Tone and
will compromise your attack and the ability of the preamp–and power section to “track” your playing. Do yourself a favor and avoid
the flub... reduce the BASS control as you increase the VOLUME 1 (and/or VOLUME 2). DON’T BE SURPRISED IF THE TIGHTEST
TRACKING AND MOST BALANCED TONE IS DELIVERED AT “LOWER THAN NORMAL” BASS SETTINGS. This can also apply to
the upper region of the MID/BOOST control in both Inputs as it increases the preamp gain substantially.
VOLUME 2:
This Input and Gain control allows adjustment of the second stage of gain when you are connected to INPUT 1, and the
first stage (Input Tube) if your instrument is feeding INPUT 2. When in INPUT 2 the control works exactly like it does on all (vintage) amps—it
cranks up the preamp.
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Lower settings (3.5–5.5) produce a brighter, more scooped sound with increased headroom and a bell-like harmonic chime
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on the top end. Higher settings (5.5–7.0) bring in gradual tube saturation and adds girth, low end “air”, breath and dimensionality. Above 7.0 on VOLUME 2, tube saturation becomes the dominant trait and clean response is only possible with extremely weak pickup output – by design or by your application. In this fashion, many traditionalist Blues and Roots aficionados
live full-time in this area and achieve their “clean” sounds by backing off the guitar’s Volume control when they are not soloing.
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Put simply, Jazz, Funk, Classic Country, Reggae, Ska and Rock Ballad Intros would all be served well in INPUT 2 with the VOLUME
TREBLE MID/BOOST BASS
10 WATTS STANDBY POWER
100 WATTS ON ON
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NAKE
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10 WATTS STANDBY POWER
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NAKE
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2 set between 4.5 and 6.0. Blues, Classic Rock, New Country and Lead work that needs a quick response and mild to medium
overdrive will want to see the VOLUME 2 in the 7.0–10.0 range.
Remember that VOLUME 2 is active when you are using INPUT 1 and the sound is usually better (more focused, warmer, round
attack, less detached buzz) when VOLUME 2 is set slightly higher than VOLUME 1. As you venture up the gain scale, try keeping
VOLUME 2 a couple numbers higher than the setting of VOLUME 1. For most solo work you might try leaving VOLUME 2 at 8.0. This
will produce a smooth overdrive sound with lots of warmth and character and an explosive attack. When you need extreme gain, just
max out the VOLUME 2 and bring VOLUME 1 up to the desired level... even 10.0, as well, for extreme gain sounds. You can also add
gain here via the upper region of the MID/BOOST control if need be to achieve thicker saturation. Just mind your attack when using
the MID/BOOST... you don’t want so much gain that it turns to “mush”.
MASTER:
This control determines the overall output of the KING SNAKE’s power section and ultimately the playing volume.
In terms of signal path, the MASTER comes after the two VOLUME controls (Input 1 & 2), Tone Controls and the EFFECTS LOOP,
but before the driver stage to the Power Section, so adjustments here will not affect your SEND Level strength at the
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EFFECTS LOOP. This is the control that will push the Power Section—whatever your wattage setting may be—toward
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clip. If you have low settings on the two VOLUME controls and a high setting on the MASTER, chances are any distor-
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tion (overdrive) you hear will likely be from power tubes saturating.
Remember that the KING SNAKE is a LOUD amplifier, especially in the 60 WATT and 100 WATT Power Modes. It
is wise to begin your playing session with the MASTER set at 0 (or very low) BEFORE THE STANDBY IS FLIPPED TO ON, and
increase it SLOWLY to the desired playing volume. This will help you avoid damage to speakers and your ears or the ears of bystanders.
TREBLE:
The TREBLE is the dominant control for voicing the KING SNAKE and its setting will determine not only the character
of the entire sound, but also how much signal the BASS and MID/BOOST are fed. The TREBLE can overpower the other Tone con-
trols and therefore its setting is crucial for a rich, balanced sound.
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TREBLE
On this amplifier the TREBLE can be used to add a bit of additional gain and focus to the overdriven sounds and there-
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fore, the settings may be higher than on other MESA amps—except for it’s cousin, the LONE STAR—which shares
some resemblance in circuitry architecture in this part of the preamp.
For clean chording and sparkling rhythm work, it works well to set VOLUME 2 around 4.5–6.0 and set the TREBLE in the same region.
Going below this region on the TREBLE will produce warmer sounds that are great for traditional Jazz or darker sounds overall (or
balancing bright guitars), but lack the chime in the top end to be appropriate for most other styles. Settings above the 5.0–6.0 range
will provide more brightness and a sharper attack, but can become harsh and unforgiving for clean work when set too high.
For higher gain sounds in both Input 1 and Input 2, the KING SNAKE allows a little more room for experimentation with the TREBLE
than most of our other circuits. Here the TREBLE can add a nice touch of additional gain and put the finishing touch on saturated
lead sounds. It can give you just that “little bit more” you sometimes need when set somewhere between 7.0–8.0 for higher VOLUME
2 settings in Input 2. If you like the additional gain and focus produced by the TREBLE here but find it’s too bright, simply reduce the
PRESENCE (in either setting) to fatten things back up again.
Set between 7.0–8.0 for gain sounds in Input 1, the TREBLE can help tighten things up and keep the BASS tracking tight while at the
same time adding a touch more “searing” or harmonic gain. Much above 8.0 on the TREBLE though you are tempting more piercing frequencies as well as all but the most well behaved preamp tubes to show their vulnerability to noise, whether it’s “tube hiss” or
microphonic tendencies. This is especially true when combined with very high settings of VOLUME 1, VOLUME 2, the TREBLE and
the MID/BOOST.
NOTE: May we suggest avoiding very high settings of these four controls (both VOLUMES, TREBLE and MID/BOOST) simultaneously and instead do a little give and take. If you need really high gain from both VOLUME controls, back down on the TREBLE and
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