Mesa-Boogie LoneStar Amplifier User Manual

OOGIE
B
M
ESA
Owner's Manual
Hello from the Tone Farm
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!
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2-3
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3
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5
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5
THICK / NORMAL / THICKER
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5
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6
TREBLE / MID / BASS
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7-8
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8
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8-9
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9-10
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SPEAKERS & SLAVE
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TUBE MAINTENANCE & DIAGNOSIS
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TUBE DESCRIPTION & TASK CHART
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SPEAKER IMPEDANCE & POSSIBLE HOOK-UP SCHEMES - Amps to Speaker Cab
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25-30
TRIODES, PENTODES & IRISHMEN: A feature article on the workings of tubes
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31-33
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34
TABLE OF CONTENTS
FRONT PANEL CONTROLS & FEATURES
REAR PANEL CONTROLS, SWITCHES & JACKS
PRECAUTIONS & WARNINGS
Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE !
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before removing chassis.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding conforms with local standards.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Vacuum tube amplifiers generate heat. To insure proper ventilation always make
certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet. Keep away from curtains or any flammable objects.
WARNING: Do not block any ventilation openings on the rear or top of the amplifier. Do not
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of its cabinet.
WARNING: Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
place objects filled with liquids on or nearby the amplifier.
WARNING: Always make certain proper load is connected before operating the amplifier.
Failure to do so could pose a shock hazard and may result in damage to the amplifier.
Do not expose amplifier to direct sunlight or extremely high temperatures.
Always insure that amplifier is properly grounded. Always unplug AC power cord before changing fuse or any tubes. When replacing fuse, use only same type and rating.
Avoid direct contact with heated tubes.
Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power supply specifications listed on the rear of the unit. Remove the power plug from the AC mains socket if the unit is to be stored for an extended period of time. If there is any danger of lightning occurring nearby, remove the power plug from the wall socket in advance.
To
avoid damaging your speakers and other playback equipment, turn off the power of all related equipment before making the connections.
Do not use excessive force in handling control buttons, switches and controls. Do not use solvents such as benzene or paint thinner to clean the unit. Wipe off the exterior with soft cloth.
Instruction Manual
REAR VIEW : LONE STAR
WARNING: Unplug powe
r before replacing fuse or removing bolts mounting chassis
SLAVE
POWER FUSE
4 A SLO BLO
120 V~
60 Hz
4 A
FUSE
FUSE
SILICON DIODES
TUBE RECTIFIER TRACKING
FA
N
ON
FA
N
OFF
First set sound with
LOOP bypassed. Then
set SEND & OUTPUT to 50% for unity gain. With LOOP IN, adjust
SEND to match FX.
Use OUTPUT for
RETURN level and
live volume control.
SEND
RETURN
NORMAL
MIN
SEND LEVEL
TUBE LOCATIONS
1 x 5U4 4 x 6L6
LOOP
IN
HARD BYPASS
OOGIE
B
M
ESA
LONE STAR
CH 2 REVERB CH 1
REVERB
BRIGHT
REV W
ARM
ALL - TUBE
AMPLIFIER
CHANNEL
SOLO
EXT
SW
SPEAKERS
HAND BUILT IN PETALUMA CA.
8 OHM4 OHM 4 OHM
BIAS SELECT
EL-34
WHEN
RED ON
EL-34
6L6
CAUTION: SWITCH MUST
MATCH TUBES IN USE
INPUT
FT.SW
FRONT VIEW : LONE STAR
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN
TREBLE
MID
BASS PRESENCE MASTER
100 W
50 W
100
W
50 W
OUTPUT
LOOP ON
SOLO
STANDBY
ON
POWER OFF
TWEED
NOR
ON
Overview:
Congratulations
on your choice of the
as your amplifi er and Welcome to the
MESA/Boogie
Family!
This hand-built instrument was crafted with the fi nest quality components and designed to provide you with years of musical inspira-
tion and toneful satisfaction.
is laid out simply and logically. Its clean, two channel layout provides a platform for ultimate
expression with a minimal learning curve. Though you have probably experienced the magic of its character already, this guide will
there easily in new musical environments.
The two channels provide the entire range of gain, from sparkling clean to totally saturated, and anywhere in between. Channel 1(top)
amps, this channel can be driven to clip and produces incredible solo possibilities for blues or roots chording styles.
Channel 2 has a split personality and can either be set to achieve a slightly gainier clone of Channel 1 or, with the fl ick of a switch
exact blend of smooth singing saturation. The bipolar nature of Channel 2 allows the
to roam effortlessly through both
vintage and modern territory with full channel switching accuracy and an emphasis on soul and simplicity. You can set up the amp for
two low gain channels, one for sparkling clean and the other driven into an old school clip or, one for low gain clean and the other for
The
takes channel switching further and allows you to choose the amount of power and type of rectifi cation you want
to combine with each preamp channel. The choices are 50 or 100 watt power ratings and Tube or Silicon Diode rectifi cation. For
accuracy, select 100 watts and the Diodes are automatically brought on line to keep things bold and authoritative. These power- se-
your footswitching needs.
Overview: (Continued)
The OUTPUT control is joined by our SOLO feature that provides an additional master output that you can trigger remotely for a
footswitchable boost when you want to feature a part. These two Front Panel controls are brought on line with the activation of the
to HARD BYPASS, all associated circuitry is removed (for you purists) from the signal path. Since the Output and SOLO controls are
wired as Loop Returns, at the end of the preamp and Loop signal path, they are defeated when the Loop is bypassed. The Power
switch is fi tted with LOW and (high/normal) ON settings to provide a built in variac so that incoming AC voltage can be reduced to
As mentioned above the Effects Loop handles outboard processing with fi nesse. The ability to HARD BYPASS the loop entirely assures
the purist in you will be satisfi ed in the studio where every nuance of tone is crucial and you don’t need the SOLO feature.
The pure, all tube Reverb is fi tted with a Bright/Warm switch that enables you to tailor the reverb sound to the style you are playing.
WARM produces a more pure, studio quality character. Individual blend controls for each channel allow you to get the mix just right
for each of the sounds you have designated to the two channels.
with larger rack or multiple amp setups. The Chan-
via external and/or midi commands with any switcher that supports grounding type logic within their programmable menus.
A Switchable BIAS SELECT feature allows you to swap tube types in the power section for different response characteristics. Use the
stock 6L6 type tubes for the greatest versatility, or swap them out for a quartet of EL34 for a brighter, looser feel and added harmonic
spread. Always use the proper setting of the BIAS SWITCH for the tube type in use!
And fi nally, a SLAVE Output and Level control round out the Rear Panel enabling you to use the
as the “dry” master
amp for a stereo setup, drive an external rack of outboard processing or, simply add additional power for larger venues. Unlike the
signal at the speaker output.
That covers the features of the
sound. First though, here are a few helpful hints to get you started.
After unpacking your new amplifi er, save the packing material and box should you move or ever want to ship you amplifi er.
2.)
Remove the plastic webbing from the power tubes before connecting the A.C. power cable!
3.)
Make sure the A.C. power cable is connected to a grounded (3 hole) socket.
4.)
Make all speaker connections with unshielded speaker cable.
5.)
Make all external processing connections to the EFFECTS LOOP with shielded cable.
HELPFUL HINTS:
6.)
When the Footswitch is not available or desired, use the Front Panel mini toggle to select the two channels.
7.)
The Front Panel OUTPUT and SOLO controls are not active until the Effects Loop is switched to the LOOP ACTIVE position. Use
the Channel MASTER controls for output volume level when the LOOP is set to HARD BYPASS.
8.)
As with all
MESA
amplifi ers, the
controls really work and are extremely powerful. You will fi nd most of the best
sounds will be produced by setting the controls in their middle ranges, and very rarely higher than 3:00. The balance between them is
the important part and they are most interactive when no one dominates the mix. Adhering to this scheme will avoid excessive tube
9.)
Use the LOW power setting on the A.C. POWER switch in combination with the TUBE RECTIFIER TRACKING selection on the
When connecting your processing to the Effects Loop follow these steps;
Set up your two Channels for the desired sounds
2.
3.
Connect your processor Input to the Effects Loop SEND
4.
Connect
5.
Activate Effects Loop (LOOP ACTIVE)
6.
Set processor Input Level control for unity gain (0db)
Adjust the overall Effects Loop SEND LEVEL control to fi ne tune the processors Input signal.
8.
Adjust overall playing volume with
the
Front Panel OUTPUT control.
If you are using the amplifi er with both Channels set to the 50 watt output setting, try connecting an 8 ohm load to the 4 ohm
jack. This scheme provides a brighter, snappier response and is preferable for certain styles.
When swapping from the stock quartet of 6L6 output tubes to EL34,
always check the BIAS SWITCH. Make sure it is set to
It is possible to install a quartet of 6V6 power tubes to achieve a lower overall power rating and a looser, breathier power feel.
advisable to load the amplifi er with an 8 Ohm speaker load on the 4 Ohm jack. This scheme provides the best response while at the
same time reducing stress on the tubes. Try the settings below to audition a couple of possible ways to setup the two channels.
you
want to hear.
GAIN
TREBLE
MID
BASS PRESENCE MASTER
SAMPLE #1. Sparkling Clean / Singing Lead
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN
TREBLE
MID
BASS PRESENCE MASTER
SAMPLE #2. Roots Clean / Old School Clip
NOR
Instant Gratification Demo Settings
STANDBY
ON
POWER OFF
ON
OUTPUT
LOOP ON
SOLO
OUTPUT
LOOP ON
SOLO
TWEED
STANDBY
ON
POWER OFF
ON
TWEED
100 W
50 W
100
W
50 W
100
W
50 W
100
W
50 W
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
INPUT
FT.SW
HELPFUL HINTS: (Continued)
FRONT PANEL: Controls & Features
INPUT:
This is the instrument
jack. This jack feeds the preamp and since the
therefore very sensitive, always use a high quality shielded cable between the instrument and the amplifi er. This will prevent unwanted
This 1/4 inch ” stereo jack is for connection of the Channel Select Footswitch. When the
is con-
This is the pre-drive control for the high gain preamp in Channel 2. It may be switched out of the circuit, along with its
associated tube stages, to create a slightly higher gain clone of Channel 1 in (this bottom) Channel 2. When the
control is
activated (switch left, towards
), this control operates in conjunction with the GAIN control to meter the amount of preamp drive
that will be introduced into the circuit.
or 3:00 and just playing with the
to learn the regions of saturation. You will probably fi nd the
appear between 1:00 and 3:00.
will produce a warmer quality to the sound
and in most cases this is preferable. By all means experiment with setting the GAIN lower than the
character may be desirable for your application.
They are extremely powerful, as they control how your guitar feeds the preamp and also determine the signal strength that is pumped
through the tone control string. This in turn affects how the tone controls will respond. At extremely high settings you will be hearing
This is fi ne if complete saturation is the desired effect, but remember, many of the best sounds are found with more moderate settings
where the gain controls interact with the tone control string to produce a balance of frequencies.
INPUT
FT.SW
INPUT
FT.SW
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
FOOTSWITCH:
DRIVE:
FRONT PANEL: Controls & Features
(Continued)
CHANNEL SELECT:
This 3 position mini toggle allows manual selection of the Channels when the Footswitch is not connected.
This switch is responsible for activating the
circuitry in Channel 2. Set to
active and additional tube stages are added in front of the normal “rhythm” circuitry to produce a multi-stage high gain lead channel.
CLEAN
Channel 1. Because of this additional gain in what is otherwise a “rhythm” circuit, Channel 2 is
an amazing solo channel for Roots style rhythm work or howling blues solo sounds. Cranking the
CLEAN
is a wonderful alternative to the more saturated sound of the
circuit.
You will fi nd ample gain to get notes to sound fat and singing, and still retain all of the urgent
dynamics of a clean sound that is driven to clip.
This 3 position mini toggle allows you to select between three different voicings. It selects what
frequency the Treble control will enhance. By lowering the frequency of the treble capacitor, additional gain in these frequencies is
added. This allows you to shape the sound for either sparkling clean sounds, or fatten up the Treble region and thicken the sound for
you are searching for as well as allowing you to cop the vibe of several classic amp styles.
is the best choice for clean chording and traditional blues style single note solo sounds.
three tone controls gain wise. In other words the gain of the Treble region is in line with that of
the Bass and Mid. Here the most sparkle and shimmer will appear and a beautiful blend will be
easy to achieve for all your clean work. The
selection will also let the true character
of your individual guitar shine through more than the gain enhanced character of the other two
choices. When searching for identifi able signature sounds,
would be the best choice
for traditional “black face” style clean or clipped sounds due to this lack of alteration of the classic
treble frequencies.
THICK
lowers the frequency of the Treble region while keeping the gain closer to that of the
setting. This selection fattens
the upper region and smears the line between Mid and Treble to achieve a more robust, throatier sound.
THICK
is the best choice
when searching for classic british style response for either chording or overdriven sounds. You might think of it as a “plexi” switch.
THICKER
lowers the Treble frequency even further and adds considerable gain in that region. It can enhance high gain solo work by
saturating the sound and covering up fret buzz, weak pickups or other nuances that will appear as holes in a high gain lead sound.
certain guitars or speaker choices. This setting has appeared in various clothing on virtually all
MESA
amplifi ers through the years
and is classic
Boogie.
THICKER
is the choice for the trademark singing sustain that has long been associated with our amplifi ers.
INPUT
CH 1
FT SW
CH 2
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MALNOR
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
NORMAL
DRIVE / CLEAN:
THICK / NORMAL / THICKER:
FRONT PANEL: Controls & Features
(Continued)
GAIN:
This control adjusts the predominant gain stage in each channel’s circuit with the function and taper being optimized for each
GAIN
control for each channel comes in a different place and adjusts a different point in that channel’s circuit.
GAIN
control is the most
the
GAIN
control is even more powerful. It not only determines the amount
of drive, but also acts as an integral part of the tone control string as well.
To simplify the
GAIN
controls’ role in shaping the overall tone of the sound we will look at
alone and
2)
in conjunction with the tone controls.
enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a
fuller bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in both channels. This region
contains many of the
with ample sustain.
saturates the signal and enhances low and low mid frequencies. While this region provides the maximum satu-
GAIN
control sparingly and only when maximum sustain is needed.
GAIN
gain settings. Your tubes are warranted for a period of 6 months under normal use, but you can save yourself the present and future
2.) GAIN - In conjunction with the Tone Controls -
Basically, a simple rule applies...as the Gain is increased the Tone control string
getting mostly Gain and very little Tone
this is the reason we suggest using the
GAIN
control in its middle region. Here the Tone control string is very active and provides
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN
NOR
FRONT PANEL: Controls & Features
(Continued)
TREBLE:
As in most tube guitar amplifi ers, the
TREBLE
control ( in both channels of your
) is the most powerful
of the rotary controls and is next in line only to the GAIN control as a shaping tool. Because it is fi rst in the signal path of the tone
controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of
the
TREBLE
control is very important for equal representation of the three frequency regions to appear at their respective controls.
there is an optimum region of
the
control where ample top end is mixed in and yet enough signal
As you might surmise, here is the
There are defi nitely great sounds
above and below this middle region ( 11:00 - 1:30 ), but the balance between
the
TREBLE
control and the other two tone controls is compromised.
The
TREBLE
control can be used to dump extra gain into the mix. This is
especially effective in CHANNEL 1 and Channel 2 with the DRIVE bypassed. When doing so, use the PRESENCE control to roll off
some of the more than ample top end for a more compressed feel and fatter voice. As you might surmise, the BASS control’s effective-
The
control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as
that of the TREBLE control, it plays an integral part in achieving any sound in your
It is capable of changing the feel
dramatically as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
control settings ( 7:00 - 11:00 ) where a scoop in this region produces
girth
feel to the strings and therefore
control is increased, ( 11:30 - 1:30
) the sound is rounded-out and fi lled-in with a focused mid attack appearing rather
quickly. As you would guess, the feel starts to change - becoming more resistant.
Above this region the
control could be used to compensate for either weaker
control settings ( 2:00 - 5:00 ) can introduce added gain and create enhanced
focus, the trade-off will be a stiffer, more forward, less compressed feel.
The
control in your new
works similarly in both channels in that it determines the amount of low fre-
quencies present in a sound. However, the
it mixes in changes from channel to channel. Like the MID control, it falls in
the TREBLE control and the same scheme applies. When the TREBLE control is set high, the effectiveness of
the BASS and MID controls is reduced. If the TREBLE control is set low these two controls
try to use the TREBLE control in its middle ranges. This scenario produces nearly equal repre-
sentation of all the frequencies on the tone controls and provides a great neutral starting point
for further tweaking.
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN TREBLE
NOR
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN MID
TREBLE
NOR
TREBLE
BASS
MID
MID:
BASS:
FRONT PANEL: Controls & Features
(Continued)
BASS: (Continued)
Note:
is very powerful and though we have taken
2 when using either the regular Channel 1 style gain circuitry cranked, or the DRIVE circuitry for higher gain lead sounds. A good
The
control is a high frequency attentuator that is placed at the end of each channels pre-amp stage
and affects frequencies higher than those of the TREBLE control. It acts independently of the other rotary tone controls and is crucial
control settings darken and, in fact compress the signal
which works well to fatten single note solo sounds, giving them girth and focus.
will fi nd the
control
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can see each
Channel is fi tted with its own
control, enabling both channels relative volumes to be matched regardless of their extremely
different sound styles and gain signatures. The
control makes possible a wide range of sounds through its ability to use
very low Gain sounds at high volumes and conversely, high Gain sounds at low volumes and everywhere between.
Again, we suggest using the
control in its
ranges ( 9:00 - 2:00 ).
control creates the send to the Effects Loop, extreme
These channel specifi c mini toggle switches allow you to preset the output power of each
channel.
delivering maximum power and punch.
The 50 watt setting runs
only the outside (far left & far right) tubes
to achieve the bubbly elastic bounce only a
to dedicate to each of your two channels.
achieve the ultimate clean headroom and power. Meanwhile, Channel 2 could be cranked
and dedicated to a power clip solo sound by setting the power select switch to 50 watts
and bypassing the DRIVE circuitry for an awesome old school power section pushed
TREBLE
PRESENCE
MID BASS
MASTER
BASS PRESENCE
100 W
50 W
100 W
50
W
100 W
50 W
100
W
50 W
OUTPUT
LOOP ON
SOLO
MASTER
PRESENCE:
MASTER:
100W / 50W: Channel Power Select:
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