Mesa/Boogie MARK 1 RE-ISSUE Owner's Manual
M
ESA
OOGIE
B
MARK 1 RE -ISSUE
Owner's Manual
Hello from the Tone Farm
...You, smart player and all around intuitive human, have put your trust in us to be
your amplifier company. This is something we do not take lightly. By purchasing and
choosing this unit 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 now the owner of a great amp, bred of fine all tube amp heritage...benefiting
from the many pioneering and patented Mesa circuits that led to the refinement of
your new instrument. Feel confident, as we do, 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.
MK-1
Table of Contents
FRONT PANEL:
Precautions
Overview 1
Inputs 1 & 2 / Volumes 1 & 2 2
Treble 2 / 3
Bass 3
Middle 3
Toggle Switches
60 / 100 3
Standby Switch 4
Power / Tweed Switch 4 / 5
REAR PANEL:
A.C. Receptacle 5
Fuse 5
Ground 5
FX Loop & Level Control 6
Slave 6
Presence 7
Reverb 7
Speaker Jacks 7
Tube Task Chart 8
Personal Settings Page 9
Tube Maintenance 10 /11
Speaker Impedance Matching & Hook-Up Guide 12/13
Wiring Schemes - Amplifier to Speaker Cabinets 14/17
Bias Adjustment: a feature article by Randall Smith 18 /20
On Triodes, Pentodes & Irishmen: a feature article by Randall Smith 21/23
Parts Sheet 24
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:
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING:
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.
Vacuum tube amplifiers generate heat. To insure proper ventilation always make
WARNING:
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of
its cabinet.
WARNING:
place objects filled with liquids on or nearby the amplifier.
WARNING:
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.
Do not block any ventilation openings on the rear or top of the amplifier. Do not
Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
Always make certain proper load is connected before operating the amplifier.
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.
Be sure to have the warranty card filled out by the store at which it was purchased and return to
Mesa/Boogie.
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.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
OVERVIEW:
MARK 1
Operating Instructions
CONGRATULATIONS ! You’ve just become the proud owner of one of the most influential guitar amplifiers ever made - the
MARK 1
! This is the legendar y amp that introduced all of the features most in demand by players today ! The
Boogie MARK 1
Boogie
gave birth to the Multi-Stage High Gain Preamp, the 100/60 or Half Power s witch, Direct or Line-Out the Preamp In/Out Jac ks (Effects
Loop) and Pull Shift functions, too name just a very fe w. Aside from its tremendous impact on amplifier desigh, the
Boogie MARK 1
played a digantic role in shaping the sound of today’s guitarists. With its radically boosted preamp, monstrous power output and top
quality rube circuitry , the
Boogie MARK 1
produced tone that was unheard of in its da y ! The
MARK 1’S
fat, w arm, creamy sound
ushered in the era of High Gain-Singing Sustain lead tone and quickly became the instrument of choice for man y of the 70’s greatest
innovators.
Carlos Santana first unveiled this tone on his early Abraxas album and the word was out ! Quick to follow were greats like Larry
Carlton, Robben Ford, Eric Johnson, Al Dimeola, The Rolling Stones, The Who , Fleetwood Mac, etc...Soon the
MARK 1
was staring
back at coliseum audiences world-wide, looking awfully small up there in comparison to the GIGANTIC tone that it was unleashing !
For the first e v er , guitarists were pla ying the amplifier as well as the guitar. The Tone became the springboard for the style and in many
cases actually BECAME the style !
Today - well aware of the amp’s unrivaled soulfulness - many top pla yers hav e stashed their precious
MARK 1’S
, only breaking them
out for prestigous studio dates. Other players scour the pawn shops and music stores searching for a stray homeless amp. The
MARK 1
has become a rare, much sought after classic. A ware of this enthusiasm and being dedicated to our customers, w e decided
to re-issue the amp that started it all ! We’re sure that you are going to lov e your ne w instrument and hear s weet singing tone from the
first note that you play ! Born for the Blues, but not at all hesitant to Rock the House, this is THE amp for the guitarist who wants the
ultimate in tone, with simple controls that REALLY work !
So - grab your favorite guitar and wail ! You might dedicate a few licks to your favorite players of yesteryear. Don’t be surprised when
you cop their tone - in many cases y ou are pla ying through their amp ! W e had a great time re-creating this legendary amp for y ou and
we learned a lot from visiting our roots again. You will too ! Enjoy !
FRONT VIEW: Mk 1
1
2
10
0
1
2
3
4
6
5
VOLUME 1
10
0
1
9
2
8
3
7
7
4
6
5
VOLUME 2 MASTER
9
8
REAR VIEW: Mk 1
FUSE
3A GRND SLAVE LOOP PRES REV SPKRS
10
0
1
2
9
8
3
7
4
6
5
FX LEVEL
0
10
1
2
3
4
6
5
10
0
1
2
9
8
3
7
4
6
5
TREBLE
OUT IN
9
8
7
IN
1
2
3
4
BASS
ON100 RMS
POWER
0
10
7
6
5
1
2
3
4
0
10
1
9
2
10
7
3
4
MIDDLE
9
8
9
8
7
6
5
0
10
1
2
9
8
3
7
4
6
5
84
4
60 RMS STANDBY TWEED
M
ARK I
8
0
6
5
PAGE 1
FRONT PANEL:
INPUTS 1 & 2 - VOLUMES 1 & 2: These are the instrument Input jacks for the
MARK I
and their respective Volume Controls. They
are not designed for use with two instruments, but rather to access two very different gain stages. INPUT 2 is a relatively normal
preamp channel with qualities reminiscent of early Fender “black face” amplifiers. At low settings a
very clean sound results, with emphasis on the shimmering “bell like” highs so essential to a great
1
2
0
10
1
2
3
4
6
5
VOLUME 1
7
9
8
0
1
2
3
4
6
5
VOLUME 2
rhythm sound. As the VOLUME 2 level is increased, the highs give way to midrange war mth, and a
10
fatter , richer tone is achie v ed. At “10” some o verdrive is possib le, so this channel can also be used f or
9
8
7
a traditional blues sound.
INPUT 1 is much hotter and is wired in series with INPUT 2. Voiced with a darker and fatter sound,
INPUT 1 produces single note sounds that are smooth and singing - including the soulful
Boogie
lead sound so many players have found unsurpassed through the years. VOLUME 1 can be dialed
from a low gain blues sound - wailing and pure, through medium gain fusion sounds - articulate and singing; all the way to very high
gain metal type sounds. At v ery high settings, VOLUME 1 is lethal and shredding, yet with a liquid f eel that begs f or hammering or twohanded fingering styles. Since the two inputs are in series, many different sounds are available b y v arying the settings of the two gain
controls (i.e. VOLUME 1 set high, VOLUME 2 set fairly low or vice versa.) The most popular way to set the gains for a lead sound in
INPUT 1 is to set VOLUME 2 to about 7 or 8 and increase the VOLUME 1 Control to suit your taste and style. By setting VOLUME 2
in this range, you have given the second stage of the preamp enough gain to ensure smooth, even saturation - which in turn produces
a rich vocal quality in the note played. Of course, we encourage you to experiment with both controls to find your own personal sound.
Though the
MARK I
switch between INPUT 1 and INPUT 2 externally. This is accomplished by using the accessor y
is not a “footswitching” amp in the true sense of the word, it is a two channel amp and therefore it is possible to
Mesa
A/B Footswitch, and two very
low capacitance shielded cables of the shortest possible length ( 6 feet or less ). Connect your instrument to the Common Jack of the
A/B box. Then connect cables from the box’s “A” and “B” outputs to the two inputs of the
MARK I
and you can now footswitch
between the two inputs. You will notice a compromise in volume levels is inevitable and necessary. Most probably when you set the
INPUT 2 volume control to the right spot, INPUT 1 will be too loud. This is unavoidable because the channels are in series. With some
time and guitar volume control changes you should be able to come up with a compromise setting that will “footswitch”.
Again, this amp was not meant to footswitch, so don’t be surprised when you hit the switch to go to channel 1 and the band jumps from
the volume difference. We have found that the settings we have illustrated below offer a workable compromise for both Inputs.
1
2
3
4
5
6
7
8
9
10
VOLUME 1
2
1
0
6
5
10
4
0
1
3
2
VOLUME 2 TREBLEMASTER
8
7
9
2
3
1
4
5
6
7
9
8
7
6
8
0
9
10
10
0
2
1
3
2
4
5
5
4
6
3
7
8
9
BASS
5
4
6
1
0
10
7
8
9
10
MIDDLE
3
2
1
0
TREBLE: This control varies the amount of treble frequency in the preamp. The first in the series of tone controls, it is the most
powerful of the three because its setting determines the amount of signal fed to the BASS and MIDDLE Controls. High settings of the
TREBLE Control will greatly diminish the effectiv eness of the BASS and MIDDLE, causing them to hav e very little effect on the sound.
Low settings of the TREBLE Control will increase the strength of the BASS and
MIDDLE, making those the dominant tone controls. In addition, when using
1
2
10
0
1
2
3
7
4
6
5
VOLUME 1
10
0
1
9
2
8
9
8
3
7
4
6
5
VOLUME 2 TREBLEMASTER
10
0
1
2
3
7
4
6
5
7
6
8
9
9
8
10
0
1
overdrive sounds in either channel, the TREBLE Control tends to behave like a
subtle gain control. At high settings it increases gain as w ell as adding top end.
5
4
3
If you find this gain effect TREBLE: Continued desirable, but don’t wish to
2
increase the top end, simply compensate by reducing the PRESENCE Control
located on the Rear Panel of the chassis. This will reduce brightness without
sacrificing gain. Dial with care! Subtle tweaking of this control tends to produce
the best results.
PAGE 2
FRONT PANEL:
(Continued)
BASS: This control determines the amount of low end present in the sound. Unlike most amplifiers , the BASS Control on the
is extremely powerful. Although it is fed by the TREBLE Control and is subject to its settings, the BASS Control is less sensitive to
I
MARK
the TREBLE than in other amplifiers. Amazing amounts of rich, fat
bottom end can be obtained, making clean sounds very warm and
1
2
10
0
1
2
3
7
4
6
5
VOLUME 1
10
0
1
9
2
8
9
8
3
7
4
6
5
VOLUME 2 TREBLEMASTER
10
0
1
2
9
8
3
7
4
6
5
10
0
1
2
3
7
4
6
5
3
2
4
5
9
8
6
7
8
9
BASS
breathy. Because the BASS Control is so active, especially when in
channel 1 with the VOLUME 1 and VOLUME 2 set high, it should be
1
0
10
used sparingly. Too much Bass will cause a flabby unfocused sound
that can’t be dialed out because excessive Bass has been introduced
to the pre-amp in the early stages.
MIDDLE: This is the least significant of the three tone controls . Lik e the BASS Control, its strength is also dependent on the TREBLE
Control setting. It is very useful for smoothing out single note lead sounds, making them less “buzzy” and more focused. Clean sounds
need midrange for punch and attack to produce a bigger,
bolder sound. An interesting sound in channel 1 for lead
1
2
10
0
1
2
3
7
4
6
5
VOLUME 1
10
0
1
9
2
8
9
8
3
7
4
6
5
VOLUME 2 TREBLEMASTER
10
0
1
2
9
8
3
7
4
6
5
10
0
1
2
9
8
3
7
4
6
5
1
2
3
4
BASS
10
0
7
6
5
5
4
6
7
9
8
8
9
0
10
MIDDLE
playing is achie ved by turning the TREBLE and BASS Controls to 0, and the MIDDLE Control to 10. This will reveal
3
2
the frequencies that this control works with, as well as pro-
1
ducing a fat, warm and very smooth tone.
NOTE: With all three tone controls set to 0, the amplifier
will not produce any sound. At least one tone control must
be set above 0 to produce sound.
60/100 SWITCH: This switch sets the po wer output lev el of the
MARK I
. With the toggle switch up (100 w att position ), the amplifier
will produce 100 watts rms of clean power. To achieve full power in the 100 watt position, the speaker should be connected to the 8
Ohm speaker jack located on the Rear Panel of the chassis. With the toggle switch down ( 60 watt
ON100 RMS
POWER
position ), the two middle power tubes are in a “standby mode”, thus reducing the overall power to 60
watts rms. To achieve full efficiency in this position, the speaker should be connected to either of the
4 Ohm speaker jacks.
60 RMS STANDBY TWEED
MARK I
NOTE: Power and tone differences can be achieved through matching or mismatching speaker
impedances. This can not hurt your amplifier and is an interesting experiment that we encourage
you to try. For example: with the 60 / 100 switch up ( 100 watt position ) and the speaker connected
to the 8 Ohm speaker jack, the amplifier will sound and feel very bold and punchy. ( Perfect for loud clean playing, or cutting through
a loud stage mix. ) Some players, however, find this sound and feel too stiff and revealing of mistakes. If you encounter this, no prob
lem. Simply connect the speaker to the 4 Ohm speaker jack and you have reduced your overall power to about 75 watts, while
softening the sound and feel substantially.
By using the 60 watt position ( toggle switch do wn ) with the speaker connected to the 8 Ohm speak er jac k, a diff erent sound an d f eel
can be achieved. Somewhat less “midrangey” and more hollow sounding, this set-up works whenever a clean sound is desired that
has a little different personality. Keep in mind that this mismatch ( 60 watt position - 8 Ohm speaker jack ) is a mismatch in the lower
than proper match direction. This causes the 6L6 power tubes to w ear f aster , and produces a much “harder” clip . Again, w e encourage
you to experiment and find the tonality that suits you best.
PAGE 3
FRONT PANEL:
(Continued)
STANDBY SWITCH: The STANDBY switch turns off the high voltages in your
Boogie
, while allowing it to idle, keeping the tube
filaments warm. It should be used during power-up to keep from “shocking” cold power tubes. Simply flip the POWER switch to the ON
position while leaving the STANDBY switch in the standby position (toggle down) for about a minute.
ON
POWER
This reduces the strain on your power tubes and prolongs their toneful life substantially. Standby mode
should also be used during breaks in playing, as it produces less strain on tubes if they are kept warm,
rather than turned completely on and off with every use.
STANDBY TWEED
M
ARK I
POWER / TWEED SWITCH: This is the A.C. power switch for the
MARK I
and is unique in that it offers two modes of operation:
NORMAL and TWEED. With the toggle switch up ( Power ), the amplifier operates like usual amplifiers: at the voltage rating present
at the wall socket ( normally between 110 and 120 volts in the United States ). With the toggle switch in
ON
POWER
the TWEED position ( Down ), your
Boogie
becomes a unique and extremely versatile tone machine!
Over the last decade we have put strong emphasis on not only the sound of our instruments, but on the
way they respond to you as you play. TWEED is the ultimate example of this. By using a specially
designed tapped transfor mer, we were able to lower voltages across the circuit at will. This endows the
STANDBY TWEED
M
ARK I
amplifier with the best qualities of the early “tweed” amps of the 50’s, so sought after for their sweet,
warm tone and spongy, elastic feel.
(Their weak, sagging power supplies just weren’t capable of the efficiency inherent in the modern amplifiers of toda y.) These vintage
gems of yesteryear are wonderful to play at home or in the studio, but not too reliable or practical for everyday gig use. The special
tapped transformer of the
MARK I
combines the sound and feel of these vintage classics with necessary reliability found in modern
design and construction. For everyday use in larger clubs or when you need lots of clean headroom, the NORMAL position is perfect.
When you find yourself in that tin y barroom situation, where even the 60 watt power position gets you dirty looks from the bartender,
simply switch to TWEED and you’ll both be happy. Likewise, if you find yourself in the studio needing a vintage sound with lots of
power section overdrive, try TWEED. This feature is invaluable for late night practicing, or recording around the house. You’ll be
wailing with the sound you’ve always dreamt of, while the next-door neighbors are fast asleep.
With the POWER switch in the TWEED position, it is also possible to utilize diff erent types of power tubes for diff erent sounds, styles
and feels. In this position, the
MARK I
can be used with not only the standard 6L6 type tubes, but also 6V6 and EL34 power tubes
as well. Using these three types of power tubes, three very distinct personalities can be achieved. With the standard 6L6 tubes in
place, the amp is most versatile - w arm and rich sounding, yet capable of delivering full power f or lots of clean headroom. These tubes
can be used in either the NORMAL ( switch up ) POWER position, or the TWEED ( switch down ) position for a softer sweeter sound.
Installing the smaller 6V6 power tubes ( most often seen in the classic Fender Deluxe amps ) produces a sound that is vintage and
beyond. Wonderful for blues dates or the recording studio, these tubes create a sweet, round, yet bubbly sound. Easy to drive to clip,
they are a favorite of many die-hard bluesmen with their emotional, explosive style of attack. In the 100 watt position with the TWEED
switch down, the amplifier produces roughly 40 watts and roughly half that in the 60 watt position. This is possibly one of the most
enjoyable features of the
MARK I
and we strongly encourage you to try these various tubes.
REMEMBER...Only use the 6V6 tubes with the POWER switch in the TWEED ( down ) position. Using them in the POWER switch
( Up ) position will cause them to burn out rapidly! For a proper impedance match when using 6V6 power tubes, the internal combo
speaker should be connected to the 4 OHM SPEAKER JACK or used with a 16 Ohm speaker cabinet on the 8 OHM SPEAKER
JACK. With the 60 / 100 switch in the 60 watt position, the 8 OHM SPEAKER JACK becomes a 32 Ohm jack and the 4 Ohm jack
becomes a 16 Ohm jack. Again, mismatching in the lower than proper impedance direction will cause pow er tubes to wear faster and
sound somewhat “harsher”.
PAGE 4
FRONT PANEL:
(Continued)
POWER / TWEED SWITCH: Continued From hard rock to insane metal, the
MARK I
can be your essential ingredient to
achieving any tone imaginable! Those players who want that British “crunch” tone can try replacing the output tubes with four
European - style EL34 power tubes. Greatly enhanced, shredding top end and the grinding lows so important to a great metal sound
result from this tube change. And yet all the fluid, spongy feel remains intact for those hammer-ons, pull-offs, or those two-handed
fingering lines that become noticeably effortless as the gain controls are increased. With EL34 power tubes in place, rated power is
roughly 80 watts in the switch up ( 100 watt ) position and about half of that in the switch down ( 60 watt ) position. It is easy to obtain
the right grind at virtually any volume level. A metal player’ s dream, the
MARK I
boasts gain and tone that put the “Modified” British
heads to shame and it does so reliably and consistently!
REAR PANEL:
AC RECEPTACLE: This grounded outlet provides A.C. power for effects and other powered devices that require 117 volts. It is
active whenever the amplifier’s A.C. power cord is plugged into the wall and is not affected by the POWER /
TWEED switch located on the Front Panel.
FUSE: This is the A.C. line fuse f or y our
Boogie
type package. Domestic U.S. versions of the
. Should the fuse e v er b lo w, be sure to replace it with the same rating in a SLO-BLO
MARK I
, require a 3 amp SLO-BLO Fuse. By far the most common cause of a blown
fuse is a bad power tube. Always follo w the cold start procedure mentioned earlier in the ON / ST ANDBY s witch section and w atch the
power tubes as you flip the STANDBY switch to the ON position. If a power tube is going bad or is
arcing you will see it! Flip the STANDBY switch to standby immediately and replace the faulty power
tube (s) and the fuse if necessary. If you see nothing abnormal as you lift the STANDBY switch, it is
FUSE
possible that a power tube shorted temporarily and blew the Fuse. If this is the case it may work
again normally. To be extra safe you may want to replace all power tubes in the “shotgun” troubleshooting tradition and save the replaced set as spares. Always carry along a few extra fuses and
3A
GROUND: This three position switch reverses the ground of your
tubes, they could be worth their weight in gold when needed.
Boogie
. It is often helpful in reducing annoying buzz and hum
which originate in the A.C. power wiring outside the amplifier. We recommend lea ving the s witch in it’s center ( OFF ) position, unless
position A or B definitely helps cure noise problems. In the center OFF position, your
FX LEVEL
FUSE
3A GROUND
Boogie
cannot be the source of annoying microphone “ground shocks”.
PAGE 5
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