Mesa-boogie Mark 5 User Manual
Owner’s Manual
Hello from the Tone Farm
Congratulations! The amplifier you have chosen is born of thoroughbred stock that carries
worldwide accolades and is still setting trends with top Artists 35 years after its unveiling. The
MARK FIVE: 25, like the MARK FIVE it is born from, is really a collection of iconic amplifiers.
There are far too many circuits and sounds to think of it as merely an amp... it’s a living history
of MESA/Boogie! From the groundbreaking MARK I that introduced the world to high-gain
with it’s cascading preamp, to the Mark II, the world’s first high gain Dual Mode Channel
Switching amplifier (and it’s later siblings that introduced Simul-Class™ power). From the
MARK III that ushered in the era of 3 Channel footswitching. performance, to the MARK IV
which gave all that power individual control, the MARK FIVE (and now the MARK FIVE:
25) is the embodiment of the last 45 years of guitar amp evolution.
In this latest 25 Watt incarnation, the sounds and attributes that make MARK Series amps so
popular on stage and in the studio are not only shrunk to their smallest possible physical size,
but are also further refined and improved. The gorgeous sparkling Cleans and soaring high
gain Lead sounds have made the jump successfully across output tube platforms and a new and
exciting timbre of the MARK Series voice is created here in the MARK FIVE: 25’s EL84 Duet.
Brighter, tighter, more shredding in the top end, a bit more forgiving in feel and exceedingly
more clip-able, the FIVE: 25 is right on time. Whether introducing the MARK heritage to a
new generation of low wattage devotees, or fulfilling the ultra-portable Tone Dreams of steadfast
MARK Series fans, the MARK FIVE: 25 has got what it takes to inspire and fuel your passion
in the most manageable package ever!
Table of Contents
PRECAUTIONS
OVERVIEW ____________________________________________________________________________________ 1-5
GETTING STARTED ______________________________________________________________________________ 6
HELPFUL HINTS _______________________________________________________________________________ 7-8
FRONT PANEL
THE CHANNELS: MODE BY MODE _______________________________________________________________9-10
THE MODES IN DEPTH: CHANNEL 1 _____________________________________________________________ 11-12
THE MODES IN DEPTH: CHANNEL 2 _____________________________________________________________ 13-16
THE CONTROLS
INPUT, FT SW, GAIN ___________________________________________________________________________ 17-18
TREBLE ______________________________________________________________________________________ 18
MID/BOOST: CHANNEL 1 ________________________________________________________________________ 19
MID: CHANNEL 2 _____________________________________________________________________________19-20
BASS _________________________________________________________________________________________ 20
PRESENCE __________________________________________________________________________________ 20-21
MASTER ____________________________________________________________________________________ 21-22
5-BAND GRAPHIC ____________________________________________________________________________ 22-23
MULTI-WATT™ POWER __________________________________________________________________________ 23
POWER _______________________________________________________________________________________ 24
STANDBY _____________________________________________________________________________________ 24
REAR PANEL
MAIN FUSE ____________________________________________________________________________________ 25
AC MAINS SOCKET _____________________________________________________________________________ 25
FX LOOP ____________________________________________________________________________________ 25-26
HEADPHONE ________________________________________________________________________________ 26-27
REVERB ______________________________________________________________________________________ 27
SPEAKERS __________________________________________________________________________________ 27-28
CabClone™ D.I. ______________________________________________________________________________ 28-30
FACTORY SAMPLE SETTINGS __________________________________________________________________ 32-33
USER SETTINGS _____________________________________________________________________________ 34-35
TUBE TROUBLE SHOOTING GUIDE _____________________________________________________________ 36-37
SPEAKER HOOKUP GUIDE ____________________________________________________________________ 38-43
TUBE TASK CHART _____________________________________________________________________________ 44
PARTS SHEET _________________________________________________________________________________ 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
CLEAN
CRUNCH
FS
MK IIC+
MK
IV
XTREME
GAIN TREBLE
MID BOOST
MID PRESENCE MASTERBASS
FAT
EQ ON
EQ
O
O
EQ FS
EQ ON
EQ FS
80Hz 240 750 2200 6600
25 W
10 W
25 W
10 W
INPUT
FT SW
POWER
STANDBY
MARK
5
TWENTY-FIVE
™
Overview:
NOTE: This section appears on our website. Feel free to skip this section and go straight to “GETTING STARTED” if you have read it
there or don’t need a global overview of the amplifier.
It was back to the wellspring of past MARK amps for inspiration on the MARK FIVE: 25, so we once again revisited the most coveted
of them all, the MARK II-C+. We compared that vintage icon and the production 6L6 powered MARK FIVE (being our best work to
date at paying tribute to II-Cs) and listened to what the current MARK had to offer. After confirming that many of the MARK FIVE
Modes absolutely HAD to be in this mini package... and that they TRULY sounded on par with (or even better than) the II-C+, we set
out to find a layout that fit 6 incredible Modes into a sub-compact chassis size.
Overwhelmingly, those polled rallied for two—and only two—preamp channels for a tiny MARK amp. With pedals now offering such
a personalized, quick-change approach to getting different sounds, we agreed and set to work defining the FIVE: 25’s two Channels.
We’ve arrived at a collection that includes the very best of the MARK IIC+, the MARK IV and the MARK FIVE in a package that’s
truly unbelievable in size. The result is a new Bench-MARK, every bit a fully pro model and worthy of its ancestor’s storied heritage.
Packing the stylistic width, versatility, aggressiveness and Tone of the MARK FIVE, the MARK FIVE: 25 serves it up with a bouncy,
brash new attitude all its own. Combining the power of the MARK FIVE preamp with our exclusive Dyna-Watt™ 2xEL84 power section the FIVE: 25 creates a MARK amp of unprecedented portability, clip-ability and high-speed, tactile expressiveness. It assures
the MARK amp lineage will continue on past the current “little amp” trends of today to define a sonic territory and class of amplifier
hard to ignore in any size or wattage category for years to come.
FRONT VIEW: MARK FIVE: 25
CLEAN
FAT
CRUNCH
INPUT
FT SW
REAR VIEW: MARK FIVE: 25
CAUTION: Unplug
power before
servicing
MK IIC+
XTREME
FS
GAIN TREBLE
MK
IV
120 V~
1.25 A
60 Hz
SLO
1 A
BLO
AMPLIFIER
44YV
™
™
FX
TUBE GUIDE
6 x 12AX7
2 x EL 84
MID BOOST
MID PRESENCE MASTERBASS
MARK FIVE: 25™
VACUUM TUBE
AMPLIFIER
HEADPHONERETURNSEND
CH 2 CH 1
REVERB
PAGE 1
EQ ON
O
EQ FS
EQ
EQ ON
O
EQ FS
80Hz 240 750 2200 6600
HANDCRAFTED
IN PETALUMA,
CALIFORNIA
SPEAKERS
4 OHM
(USE WITH TWO 8 OHM SPKRS)
4 OHM 8 OHM
PATENTED
7,602,927
SPKRONCLOSED
BACK
SPKR
OPEN
OFF
BACK
25 W
10 W
25 W
10 W
CabClone™
D.I.
POWER
STANDBY
MARK
TWENTY-FIVE
GROUND
5
LIFT
™
O: F P
THE PREAMP
CHANNEL 1
offer two musically useful flavors of this sparkling low gain voice that benefit from 35 years of continuous refinement and take Clean
sounds to a dynamic, new touch-sensitive plateau. A third “crossover” Mode is also showcased here in Channel 1 and again, it’s
taken directly from the acclaimed MARK FIVE.
The CRUNCH Mode, delivered courtesy of Channel 2 in the big FIVE, covers the mid-gain ground between Clean and mildly overdriven
and ultimately, with this power section, on up to the higher gain sounds of its namesake. CRUNCH by itself is worthy of—and delivers
more than—most stand-alone amplifiers. It roams the many subtle transition zones between clean, mildly pushed and fully saturated
with finesse and offers an expressive, touch sensitive palette with broad stylistic boundaries. Play the Blues with howling overdrive,
grind away on aggressive Chunking Rhythm or rip through Lead work with more layers of smoldering gain... CRUNCH is up for it all
and then some. Also, here in the FIVE: 25, CRUNCH is enhanced by the ability to blend in more power section clip at lower volumes
due to its lower wattage range. The EL84s accentuated top end harmonic content adds a nice openness to lower GAIN settings and
Brit-voiced shred to the higher GAIN range, making CRUNCH even more applicable and valuable. You will likely find it, as many have,
one of the most useful Modes of all in this MARK’s arsenal.
Channel 1 in the MARK FIVE: 25 is fitted with an additional feature that increases both the gain and flexibility in all three of its Modes.
First seen on our Carlos Santana Tribute, the KING SNAKE™, an adjustable GAIN BOOST is incorporated into the upper half of the
MID Control.
What was a switchable On/Off Gain Boost feature on the original MARK I appears here (and on the Carlos Tribute KING SNAKE) as
an adjustable MID/BOOST found on 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 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 Channel incorporates our best two Clean Modes ever, CLEAN and FAT from the MARK FIVE. These Modes
This simple but incredibly powerful (and patent applied for) MID/BOOST feature allows you to dial-in additional gain into any of Channel
1’s three Modes ranging from subtle enhancement to substantial overdrive. This 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 also
broadens the stylistic range of CRUNCH and for some players, can add all the overdrive they’ll ever need.
When even that much gain is not enough, combine CRUNCH, the upper range of the MID/BOOST and the 10 WATT Power Mode
cranked way up and you’ll be truly grinding (remember, you’re still in the “Clean” Channel)! The dial-to-taste smooth, warm overdrive
found in the MID/BOOST transforms Channel 1 into a full featured (high gain) amplifier all its own and offers HUGE potential for great
solo and overdriven rhythm sounds across a wide range of styles.
CHANNEL 2
gain, gain and more GAIN! While it’s true that all three of these Modes are very versatile and can produce great sounds for many
styles at their lower settings, it’s the higher range of the GAIN control that put them on the map and at the center of so many iconic
Rock Artist’s styles. From the Stones to Metallica, Night Ranger, Lamb Of God and Steve Lukather to John Petrucci, MARK Series
have made an indelible mark (no pun intended) on popular music. The soaring MARK Series LEAD and Graphic EQ/Mid-Scooped
Crunch Rhythm sounds especially, have woven themselves into the fabric of Heavy Rock.
Here in the MARK FIVE: 25 that sound is recreated, celebrated and for some, even elevated, in three unique and stylistically opposing Modes. While they are labeled MK IIC+, MK IV and XTREME, they could as easily be named for their personalities... Focused,
Warm and Dangerous.
The top MK IIC+ Mode In Channel 2 is an exact recreation of the iconic MARK IIC+ LEAD Mode and offers the blistering midrange
Channel 2 here in the FIVE: 25 is an exact preamp replication of Channel 3 in a big MARK FIVE and is all about
PAGE 2
focus and searing top end of this classic 30 year-old circuit. It’s funny to think of high gain sounds as Vintage (at least for us), but as
surely as the bands that used them to define their sound in the ‘80s, along with those Artists still doing so today, the C+ is a recording
dream and a Road Dog... a surviving, thriving piece of Rock History. It’s urgent attack and tight midrange focus provides the perfect
canvas to create, especially huge Rock and Metal sounds, with another iconic MARK feature... the on-board Boogie Five-Band Graphic
EQ. The II-C+ Mode responds very well to the Graphic EQ and the ever-popular extreme settings of the 80Hz and 240Hz Sliders. The
MK IIC+ is more adept at keeping things tight, tuned and chunking due to its stripped, mid-focused nature. The 750Hz Slider is the
perfect tool with which to apply the precise amount of inherent midrange attack in this Mode and bring the sound forward (bumped) or
push it back (scooped) in your musical landscape. Many Heavy Rock aficionados find the MK IIC+ Mode with the EQ employed their
go-to sound for aggressive high gain rhythm work. For the rest it provides an articulate, singing high gain voice with tons of mid-focus
clarity from which to craft your signature Lead voice.
The middle MK IV Mode is another exact recreation, this time of the MARK IV’s “Lead” Channel and it appears on both the 6L6 MARK
FIVE’S Channel 3 roster and here on the MARK FIVE: 25. This MARK Lead Mode is fatter and creamier than its mid-accentuated
brother, offering a warmer voice that’s great for both single note soloing and high gain chording. It can provide more girth and sonic
width and can round things out or fill them in. It’s nicely juxtaposed to the pointed, more forward voice of the IIC+ and is supremely
balanced and full bodied. Because of this more filled-out footprint you may want to use less extreme settings on the Graphic EQ.
Super-scooped mids on the 750Hz and/or radically boosted low end on the 80 and 240Hz Sliders may create sounds that are not as
cohesive or turn “mushy” and slow, especially at higher GAIN (and/or MASTER settings). Played with or without the Five Band EQ,
the MK IV Mode is a great all around choice for so many styles, low or high gain, and would be a great “if I could only have one” Lead
Mode. Its warmth, balance and easy to play feel are the sonic anchor for Channel 3 in the big FIVE and even more of one here in the
tighter, brighter EL84 powered MARK FIVE: 25.
The lower XTREME Mode is also a faithful duplication and taken directly from the 6L6 MARK FIVE. While its name is shorter here to
fit this tiny Panel (no “E”), it definitely lives up to its name and delivers the radical dose of high gain infused with extra harmonics and
even more urgent attack than its cousin upstairs, the IIC+ Mode. This hyper reactive voice jumps at the first hint of pick attack and
roars with aggression. It’s further antagonized by the similar response of the EL84 power tubes here in the FIVE: 25 with their fast
attack, higher mid frequency and relative lack of sub-low bottom end. XTREME shreds, grinds and thrashes like the angry teen it is
circuit-wise and whatever it lacks in nuance, it makes up for in brash attitude. It’s very fast, forward and furious and should be used
in musical environments where you don’t care if you offend and/or dominate... and in fact, this may even be the goal.
5-BAND GRAPHIC EQ
The on-board 5-Band Graphic EQ has been an iconic trademark of MARK Series Boogies since it first
appeared on the MARK I back in 1970. The shaping power of this feature can’t be denied, especially when combined with the MARK
II and IV’s tight, mid-focused gain sound. In the ‘80s, the classic “V” setting of the Graphic EQ on MARK II and III models became an
instant Classic. With bigger chunking low end, scooped mids for width and a chirping harmonic top, these MARK amps were nice
alternatives to the Brit-mods of the day. They quickly took their place as the other sound in Heavy Rock, etching the on-board Boogie
Graphic a nice little niche in Rock history.
While the MARK FIVE: 25 Tone Controls are accurate and effective over a wide range, they come earlier in the preamp’s signal path
and can only achieve so much shaping before they produce possible imbalances in certain Modes. One example might be the BASS
Control in Channel 2 where, in the MARK II-C+ and MARK IV Modes, too much bass dialed up early in the preamp will cause the
sound to be tubby and unfocused.
The Graphic EQ comes at the very end of the signal chain so you can shape the final sound with the only consideration being how
much of a certain frequency your speakers, cabinet—and ultimately your ears—can handle. The only consideration is that here in this
25 Watt power section, extreme settings of the two lowest Bands — 80Hz and 240Hz will use up power (wattage) quickly and overall
headroom will be affected. This is even more of a consideration in the 10 Watt Power setting. Dial with care and taste to ensure the
best performance. Subtle movements cause substantial results here, so use this powerful tool wisely and it can take your sound
almost anywhere you want to go. Just be sure to reference less altered sounds from time to time to keep a perspective, as it’s easy
to get an “EQ Hangover”.
Each Channel is fitted with a mini-toggle just to the left of the SLIDERS to select the operational status of the 5-Band Graphic EQ and
PAGE 3
the FIVE: 25 gives you a choice of two ways to utilize its shaping power. In each Channel you can decide whether you want the EQ
active all the time in that Channel—EQ ON (toggle up), bypassed all the time in that Channel—EQ OFF (toggle center), or activated
by the EQ button on the Footswitch—EQ FS (toggle down). There is also an Orange LED in between the switches to keep you apprised of EQ status that illuminates when the EQ is active, regardless of how it has been engaged.
MULTI-WATT™ Channel Assignable Power
To the right of the Graphic EQ SLIDERS are the Multi-Watt™ Channel Assignable
Power switches for each Channel. These allow selection of either the full 25 watts of Dyna-Watt™ power with its more-than-rated
punch and impressive burst of headroom on the attack, or the brighter and oh-so-clip-able 10 watts of Class AB Triode power. The
Blue LED lamp in the center of the Panel between the Multi-Watt switches is the AC Pilot light.
Dyna-Watt is the choice for the majority of those who will be gigging or rehearsing with others and provides the maximum volume for
clean sounds and the tightest tracking response for high gain rhythm work, especially in the low end. This bouncy, elastic feeling power
section was created in 1984 and was the engine behind our first low wattage amp the STUDIO .22, and its shocking performance.
Explosive, dynamic speed, an easy to play feel and the impression of power far beyond its rated wattage have kept it at the center of
our low wattage offering for 30 years now. This incarnation pairs it with the MARK Series preamp, which is also dynamic, expressive
and touch sensitive and together they create an incredible playing experience that’s as magic as it is portable.
The 10 Watt setting flips the 2xEL84s over to a CLASS A/B Triode wiring configuration that offers an opposite power response to
Dyna-Watt along with greatly increased clip-ability. It produces a skinnier, slightly brighter response and is the same low power scheme
used in our Mini Rectifier Twenty-Five and has the ability to enhance many styles. It’s the perfect fit for the 6 versatile preamp Modes
in this MARK rendering as well. The 10 Watt setting is great for lower volume practicing, rehearsing and recording and allows more
use of the power section as a gain source, enabling you to reduce the preamp’s GAIN Control settings and explore the old school
approach to achieving tube overdrive... power saturation.
With the POWER switch to engage AC power from the wall and the STANDBY to allow tube warm up at cold-start and cool down at
set breaks, the tour of the Front Panel is complete. Now let’s review the Rear Panel and explore the MARK FIVE: 25’s comprehensive
list of interfacing and Effects possibilities.
PAGE 4
O: R P
The first feature of note starting at the far left is the Series, Fully Buffered, Tube FX LOOP. This is the interface point for outboard
processing and it provides a junction between the preamp and power section. The LOOP performs well with both Rack and Pedal
type outboard gear with the obvious exceptions being those effects that work better on the INPUT of an amplifier (Wah, Compression, Gain and Overdrive Pedals, Envelope Filters, etc.). Since it is buffered, you can use multiple units in line and relatively longer
lengths of cable (25 feet or less) before hearing too much degradation in signal. Lengths longer than 25 feet may warrant including an
additional Buffer or Line Driver to preserve your Tone. Though it goes without saying, we’ll say it here anyway. The MARK FIVE: 25,
despite its tiny size, is a professional amplifier. Use high quality, professional Effects Processors when interfacing to your FX LOOP
or the likelihood of diminished performance and poor sound quality will be increased.
HEADPHONES
to play through a speaker. This jack derives its “speaker simulated” signal from the included CABCLONE™ D.I. feature and delivers a
surprisingly good rendering of the FIVE: 25’s sound and feel to your headphone set of choice. The playing volume is determined by
the MASTER control and you will need to adjust the volume there as this circuit is passive and has no op-amp driven volume control.
Remember that headphones can vary greatly in both sound and efficiency and therefore the performance of the HEADPHONE jack
can be optimized or compromised by the headphones connected to it. We recommend trying a few sets of different types and manufacturers with the MARK FIVE: 25 before choosing headphones for this application. In our tests, we’ve found that lower impedance
Headphones tend to offer the best performance in terms of available output and Tone.
ALL-TUBE, SPRING REVERB
Channel. This allows different amounts of the all-tube, short-spring analog Reverb to be dialed in for each of the FIVE: 25’s two Channels. Anything from a subtle background ambience to a fully drenched effect can be dialed according to taste and musical style and
the inclusion of this traditional analog spring Reverb further underscores the professional legitimacy of this MARK model.
SPEAKER OUTPUTS
time tested 1x8 Ohm and 2x4 Ohm SPEAKER OUTPUT jacks. This combination enables proper impedance matching with a wide
range of cabinet options and speaker load impedances and ensures you’ll have great performance regardless of your cabinet choices.
Introducing e CABCLONE™ D.I.
Rear Panel, the on-board CABCLONE D.I. and Cabinet Simulation feature. This built-in magic recording solution allows you to capture
a wonderful representation of the sound and feel of the MARK FIVE: 25 direct to a Console, Converter or even direct to a Recorder
without the need to mic up a speaker.
The FIVE: 25 features a HEADPHONES Output for personal enjoyment of the amplifier when it is not possible
Next up is the REVERB section, which offers individual control for the REVERB MIX in each
The MARK FIVE: 25’s SPEAKER interface is also taken straight from the 6L6 MARK FIVE and offers our
And last but DEFINITELY not least is possibly the coolest feature ever to grace a MESA
Taken directly from our acclaimed stand-alone CABCLONE™, this compensated D.I. (and HEADPHONE Output) does an incredible
job of capturing the signal from the SPEAKER OUTPUT and turning it into direct injection gold. The four elements here allow for use
with a live speaker or without, so you can blend the direct signal and a mic’d speaker cabinet if you so desire. The CABCLONE section features switches for SPEAKER Status (ON/OFF), CABINET Style (CLOSED BACK/OPEN BACK), GROUND (LIFT/GROUND;
Pin 1 Float) and an XLR BALANCED Output. This array of controls comprises perhaps the most valuable and welcome feature set
on any MESA amp and greatly expands both the functionality and enjoyment potential in both live and recording applications. The
MARK FIVE: 25 is the first of our amplifiers to include this powerful tool built right in for speedy and convenient capturing of this new
MARK’s sound without sacrificing authenticity and Tone. It’s sure to increase the professional potential of this little dynamo and help
this ultra-compact MARK usher in a new era of MESA performance as well as raise the bar even further for amplifiers in its category
and beyond.
Now that we’ve reviewed the Features and Controls of the MARK FIVE: 25 globally, let’s take a closer look at the individual controls
to see how they interact to create the sounds YOU want to hear.
PAGE 5
GETTING STARTED
1. Connect the A.C. Cord to a grounded (3 pin) A.C. outlet.
2. Connect your speaker cabinet of choice to the proper matching impedance SPEAKER OUTPUT on the right side of the Rear Panel.
An 8 Ohm load is preferable for your first experience with the MARK FIVE: 25, as you will then be able to experience the full power
(wattage) potential and best Tonal balance.
3. Connect your Instrument to the INPUT jack on the far left of the Front Panel using a good quality, shielded, Instrument Cable
(grounded type) of preferably no more than 12–15 feet. Longer cable lengths will begin to compromise the sound and roll off top
end due to increased capacitance.
4. Unpack and Connect the MARK FIVE: 25 Footswitch to the FT SW jack at the far left bottom corner of the Front Panel using the
supplied Stereo (Tip, Ring, Sleeve) Cable. Set the 3-position FS mini toggle (in the center of the Channels) to “FS” (center position)
to use the Footswitch to access the Channels. If you don’t want to use—or don’t have—the Footswitch, use the FS mini toggle to
access the two Channels by moving it up to access Channel 1 and down to select Channel 2.
NOTE: The FS mini toggle must be in the CENTER “FS” position for the Footswitch to select the Channels.
5. Flip the POWER Switch to the (right) ON position while leaving the STANDBY Switch in the (left) STANDBY position for at least 30
seconds. This allows the filaments in the tubes to warm up before being put to use with high voltage.
NOTE: 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 refer to the FX LOOP section in this manual for proper
connection and operation, although we recommend auditioning the MARK FIVE: 25 without processing for the first time.
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!
SAMPLE SETTINGS
Below are a couple of different ways to set up the two Channels for Channel Switching sound (Mode)
choices. Remember, there are countless ways to set up the Channels and after reading the rest of this Operating Guide, you will be
well equipped to dedicate the Channels to your footswitchable needs quickly and effortlessly.
Mark Clean/Mark IV Lead
INPUT
FT SW
CLEAN
CRUNCH
MK IIC+
XTREME
FAT
FS
GAIN TREBLE
MK
IV
MID BOOST
MID PRESENCE MASTERBASS
EQ ON
O
EQ FS
EQ
EQ ON
O
EQ FS
80Hz 240 750 2200 6600
25 W
10 W
25 W
10 W
POWER
STANDBY
MARK
TWENTY-FIVE
5
™
80’s Crunch/XTREME Lead (EQ Optional)
INPUT
FT SW
CLEAN
CRUNCH
MK IIC+
XTREME
FAT
FS
GAIN TREBLE
MK
IV
MID BOOST
MID PRESENCE MASTERBASS
PAGE 6
EQ ON
O
EQ FS
EQ
EQ ON
O
EQ FS
80Hz 240 750 2200 6600
25 W
10 W
25 W
10 W
POWER
STANDBY
MARK
TWENTY-FIVE
5
™
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 MARK FIVE: 25. 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.
• If you have everything on POWER, STANDBY, GAIN and MASTER (as well as Input and Output Volume Controls on any Effects
in the LOOP) and get no sound; Check the SPKR ON/SPKR OFF switch in the CabClone™ Section at the far Right of the Rear
Panel (when looking at the back of the amplifier) to make sure the toggle switch is set to SPKR ON. This may have been bumped
during shipping, transport or set up.
• The MARK FIVE: 25 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, and from room to room and we guitarists can use all the help we can get, right? This “coupling” effect usually helps… with the
only exception being a stage filled with too many live mics. Sometimes you are then forced to lift the amp to minimize the coupling
effect and/or associated resonant feedback.
• Remember the MARK FIVE: 25 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 really stable set of preamp tubes (ones
that exhibit little or no microphonic tendencies) to do that.
• Use the STANDBY switch every time you power-up, 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.
• The Front Panel CHANNEL SELECT mini toggle (located between the two Mode switches at the left of the Front Panel) must be
set to the CENTER FS position for the Footswitch to select the Channels.
• 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 Modes. Many of the great sounds
in all the Channels will find these two Controls in their middle ranges. 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.
• The “normal” range of a MID control in Channel 1 appears between 0 and 5.0 in a more condensed taper. Above 5.0 the BOOST
feature takes over and adds incremental gain in the midrange frequencies while diminishing the effectiveness of the Tone Controls.
• When using high GAIN settings, try the 5-Band Graphic 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.
• When applying the 5-Band Graphic EQ, remember to go back and reference the “flat” (no EQ) sound to keep a clear perspective on
what you are doing to the sound. It’s VERY easy to get lost in the old “more, more, more” syndrome, tweak until there’s all EQ and
no Tone, and wind up with an “EQ Hangover”. Referencing a “flat” unaltered sound with the EQ toggle switches or the Footswitch
will help you avoid this common pitfall.
• The PRESENCE is very powerful at shaping the voicing of higher gain sounds in both Channel 1 and 2. Set low it fattens and
compresses the sound, making for a more voice-like, focused note. Higher settings “open up” the sound and allow the full spectrum
of harmonics to flow through. Use this control to fine tune your overdriven rhythm and lead sounds after you have dialed the rest
of the preamp controls to your liking.
• You will likely experience a volume increase when selecting the Channel 2 XTREME Mode from the two prior Modes in that Chan-
nel. This is normal and a result of diminished negative feedback and the resulting increased sensitivity in the power section.
• Beware of very high settings on the BASS control in Channel 2, especially when the GAIN is set high. Too much BASS will produce
PAGE 7
a tubby, indistinct attack and slow the response. A basic rule might be this; As the GAIN goes up…the BASS should come down.
• Beware of setting the EQ SLIDERS to extremes when using the Channel 1 FAT Mode. Be especially careful of the 80Hz and 240Hz,
as these two can dump excessive amounts of low frequencies into the mix. This, combined with the high gain settings of this Mode,
can cause flub and mud in the sound and could possibly even damage some low wattage speakers if played at very high volumes.
• Speaker Impedance has a sonic effect on the sounds as the MARK FIVE: 25 power section is switched between its two different
Modes. We prefer a matching 8 Ohm speaker load connected to the 8 Ohm SPEAKER OUTPUT for the most balanced sound and
overall performance. A 4 Ohm Load will work fine, but will usually sound a little “softer” and more scooped with less “punch” in the
midrange frequencies.
• You can safely experiment with different load combinations in the high direction, for example an 8 Ohm Speaker Cabinet connected
to the 4 OHM SPEAKER OUTPUT jack on the MARK FIVE: 25, or a 16 Ohm Cabinet on the 8 OHM SPEAKER OUTPUT. You can’t
hurt your amplifier loading it in that direction and you may discover an impedance scenario that, though a technical “mismatch”,
produces a unique response that fits your needs. The only penalty might be that your power tubes may wear a bit faster with mismatched load conditions and you won’t achieve the amplifier’s maximum headroom (full power output). Do Not use an impedance
mismatch in the low direction (example: a 2 Ohm Load on a 4 Ohm SPEAKER Output) as this is very hard on the Output transformer and may cause damage to the amplifier.
• Because the MARK FIVE: 25 is a lower wattage amplifier, and therefore you will likely be hearing more of the power section (and
it’s overdrive effect) than you might when using say a 50 or 100 watt amp, you may want to try setting the preamp GAIN Control in
the Channels a little lower than you are typically used to doing. This may help you retain more attack and fundamental punch in
the sound and keep things tight and focused. This little MARK has immense preamp gain available and it may not be necessary
to use higher amounts of it all the time to achieve the best sounds and performance.
• When reaching over the top of the amplifier from the Front, the REVERB Controls are in the center of the Rear Panel with Channel
1’s REVERB Mix on the left and the REVERB for Channel 2 just to the right.
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FRONT PANEL
INPUT
FT SW
CLEAN
CRUNCH
MK IIC+
XTREME
FAT
FS
GAIN TREBLE
MK
IV
MID BOOST
MID PRESENCE MASTERBASS
EQ ON
O
EQ FS
EQ
EQ ON
O
EQ FS
80Hz 240 750 2200 6600
25 W
10 W
25 W
10 W
POWER
STANDBY
MARK
TWENTY-FIVE
5
™
THE CHANNELS: MODE BY MODE
The Channels of the MARK FIVE: 25 are each extremely versatile and therefore it is not entirely fair to categorize them as Rhythm
and Lead. Most players will initially assign Channel 1 to some sort of clean sound and Channel 2 to an overdriven chording sound or
a single note solo sound. While there is nothing wrong with this scheme, and in fact the Channels DO lay out nicely for this approach,
it is also true that both Channels are equally adept at all three types of sounds. In other words, Channel 1 can produce great crunch
rhythm and overdriven Lead sounds, and Channel 2 boasts some amazing low gain “threshold of clip” sounds. So the lesson here is
not to label the Channels as to sound style, and perhaps think of them more in terms of their individual gain structure... “lower” and
“higher”. This type of thinking will help you to not limit yourself when searching for sounds and we encourage you to think outside the
box and use your imagination when dedicating the Channels for your needs. The Five: 25 was created to be an instrument of limitless
expression and possesses all the gain and shaping power in its two Channels to take you anywhere you wish to go in the world of Tone.
Here is a “shorter” reference guide to the Channels and how they lay out in terms of gain structure. How you wish to assign them to
your needs is up to you and discovering that… well that’s where the fun begins.
CHANNEL 1
This is the lowest gain of the two Channels in the MARK FIVE: 25. Two Modes CLEAN (switch up) & FAT (switch
center) are structured with lower gain clean sounds being at the forefront of their responsibilities. These two modes are well described
by their names... as in CLEAN produces sweet, sparkling low gain beauty and FAT adds big, lower (frequency-wise), low end and
breathiness to that sound. These two have the greatest headroom, the most dynamic range and Input Stage sensitivity in the entire
amp. They are the least compressed and retain the fastest attack characteristic. They would be considered as based on “vintage”
architecture.
The medium gain CRUNCH Mode (switch down) is dedicated to pushed, overdriven “Crunch Rhythm” sounds and is the bridge between the top of Channel 1’s maximum gain region and the taking-off point for Channel 2’s high gain structure. It took no small feat of
engineering to include this super musical, “in-between” Mode in Channel 1’s palette and achieve the correct tapers on critical shared
Controls while still offering a seamless overall response and feel. CRUNCH would stand proud as the ONLY Mode on any amplifier
and adds immense versatility to the arsenal of great sounds in Channel 1.
CRUNCH adds gain across the spectrum but increases gain in the low mids and adds fatness, which creates a smoother sound when
clipped. This added gain slows the attack a bit, but in turn adds sustain and girth. A balanced dynamic content makes it work equally
well for both broken-up chording and urgent single note soloing. This medium gain and dynamic range is the perfect transition between
a “vintage” gain structure where overdriven clean sounds are the maximum available, and a modern “high gain” preamp like Channel
2’s Modes where the added tube stages more fully saturate the signal, slow the attack and compress even more. CRUNCH is likely
to be all the gain/overdrive aficionados of the more traditional gain structure will ever need.
Again, remember that in all three of Channel 1’s Modes, you will likely hear more power section drive and saturation than you may be
accustomed to in higher wattage power sections. This may warrant a more conservative application of the preamp’s GAIN control to
achieve the sounds and the attack characteristics you are used to in those higher wattage amps. So keep that in mind when dialing
in the three Channel 1 Modes for your applications.
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CHANNEL 2
This Channel is the higher gain channel of the MARK FIVE:25 and is dedicated to creating the best saturated gain
sounds from our fabled MARK II-C+ and our MARK IV. Though the entire channel is aimed at high gain sounds, many expressive and
dynamic medium to low-gain sounds can also be found here with the GAIN control set lower (below 11:00). Again, this channel defies
classification as to style and is extremely versatile for both lower and high gain, chording and single note sounds.
IMPORTANT! Remember, as in Channel 1, you will likely be hearing more power saturation and Drive for a given volume than you
would in a higher power amplifier. Keep this in mind when setting the preamp’s GAIN Control in both Channels—but especially here
in Channel 2. It’s really easy to go overboard, dial in too much GAIN, soften the attack, and turn everything to “mush”. Do yourself a
favor... remember this is a low wattage amp. Let those little EL84s back there work for you! These tubes clip in a beautiful and wellbehaved manner with a less bloated low end, more high-mid “bark” and a nice harmonic “shred layer” up top than their octal socket
bigger cousins, so allow them to comprise a bigger part of your overall gain structure and take it easy on that GAIN Control. Your
sound will be tighter, more distinct, and more dynamically responsive.
MARK II C+ is exactly that. This Mode is a faithful—down to the last detail—recreation preamp-wise of the LEAD Mode of this legendary circuit. Blistering focused gain and explosive attack that gives way to morphing harmonics are it’s soulful signature and after 30
years, these sounds remain at the forefront of many Rock styles. The tight mid-punch focus of this sound provides an open canvas for
coloring with the Graphic EQ and the classic “V” setting has become a staple ingredient of the II-C high gain sound for Heavy styles.
MK IV is a faithful re-creation of the MARK IV’s LEAD Channel. Because of the vast options in configuring this channel on the MARK
IV, combined with the fact that the MK II C+ Mode covers a wide range of brighter sounds, we have configured this Mode for a slightly
warmer, creamier sound. The MK IV Mode has a substantial increase in midrange gain that creates the impression of a roll-off in the
upper harmonics resulting in a huge, wide sound. As we said in the OVERVIEW, this Mode would be the choice for an Extended-Stay,
“If I could only have one Gain Mode”, Desert Island gig because of its balanced, warm blend, full, rich character and easy to play feel.
It also works extremely well with the 5-Band Graphic EQ and can be used to create some really nice furry, edge-of-clip sounds in the
lowest region of the GAIN Control that are just a bit smoother than the percussive jab of the MK IIC+ Mode.
XTREME is exactly what it sounds like…extreme! As mentioned earlier, while its name is shorter here to fit this tiny Panel (no “E”), it
definitely lives up—in full—to its reputation created in the MARK IV and FIVE and delivers the radical dose of gain infused with extra
harmonics and even more urgent attack than its upstairs cousins, the MK IIC+ and MK IV Modes. This Mode also takes its original
architecture from the MARK IV LEAD Channel, but is voiced almost opposite of the MK IV Mode found here in Channel 2. Forward,
aggressive, tight and fast are its sonic signature and it is the highest gain and loudest of the 6 Modes here in the MARK FIVE: 25.
You will likely experience an increase in volume when selecting XTREME from either of the other two Modes in Channel 2, and this
is after we adjusted it all we could internally without affecting the Tone. Use this mode when you want crushing impact and stop-on-adime dynamics. XTREME is most suited for heavy styles where maximum gain and lightning fast attack are the order of the day, but
there are also some lower gain applications in the lower region of the GAIN control when transient attack and a bright character are
the order of the day. Surprisingly, XTREME holds some of the best potential for “almost clean” sounds due to the harmonic content
and dynamic immediacy of its nature.
NOTE: Increased sensitivity in the power section in the XTREME Mode causes a little more background noise because the power
amp and driver are “listening harder” due to less negative feedback in this Mode. This is normal and no cause for alarm.
PAGE 10
THE MODES IN DEPTH: CHANNEL 1
CLEAN
all your “more-stripped”, brighter needs for clean rhythm and solo styles as well as slightly driven chording sounds. As with the Modes
in each of these two MARK Channels, we start with the slimmer, tighter voice of CLEAN, move up the girth scale to FAT, and finally to
the higher gain, mid-saturated architecture of CRUNCH... the ultimate “crossover Mode” and bridge between the vintage architecture
of CLEAN and FAT and the modern gain circuits of Channel 2. Let us state again; it took no small feat of engineering to include both
traditional CLEAN Modes and this “in-between” CRUNCH Mode on the same row of Controls here in Channel 1 and have the right
tapers on critical Controls with a seamless response and feel. Any of these three would stand proud as the ONLY Mode on many
“Boutique” amplifiers, but you get all three here in this smallest rendering of the MARK Series.
CLEAN is derived from a blend of our best MARK series clean sounds taken from the MARK IV and is perfect for rhythm comping
in an ensemble environment where the guitar has to fit in a defined spot in a complex mix. It is also extremely accurate in the time
domain and has a balanced blend of tight low end to the sparkling, immediacy of the top end. This mode also clips great in the 10
watt Power Mode with its well balanced, tight, urgent nature.
CLEAN puts emphasis on tight, focused clean rhythm and articulate single note playing. This mode has the greatest clean headroom
of any mode in the amplifier, and though it can be pushed to clip at extreme settings (4:00–5:30), it will remain tighter and somewhat
stiffer than it’s FAT counterpart when used for this application. The good side of this stiffness is that the BASS control can occasionally be set higher than when going for clipped sounds in FAT - because the overall personality of CLEAN is stripped of the sub-low
frequencies that can be a challenge when looking for aggressive threshold rhythm sounds.
CLEAN works very well for aggressive, brash clipped chording sounds too, especially when the Power Select switch is set to 10 watts
and the PRESENCE is run a bit high (1:00 - 2:30). Check out this region for Punk or super-fast Classic Rock rhythm styles where you
need aggressive almost-clean sounds that will start and stop instantaneously.
As discussed in the previous section, this is the lowest gain of the three Channels in the MARK FIVE: 25 and will cover
CLEAN shines for chording and arpeggiated single-note work with its crystalline top end sparkle, urgent attack and high harmonic
openness. With the low end tucked up higher it adds fullness, but doesn’t go too low, so it won’t get “too big” or sluggish and get in the
way when a groove calls for precise, rhythmic note durations. CLEAN is amazing for skanky Funk rhythm or burning Country picking.
The midrange frequencies are also a bit higher in frequency in comparison to the FAT Mode, enabling CLEAN to deliver a percussive
attack that stays tight and has maximum impact in a range that cuts and “protects its territory” in a complex mix. Playing with these
higher mids can be a powerful way to shape the CLEAN mode as the role they play either brings the sound forward—even in the time
domain, making it seem faster—or lends a recessive, more relaxed quality to the sound... making it feel slower. Experiment with the
BASS and MID controls as you will learn to tune the attack, width and girth of the sound in CLEAN to match the style and tempos
you play most.
FAT
FAT stands in sharp contrast to CLEAN with a big breathy bottom end that extends down into the sub-low region (as much as
these little EL84s can deliver anyway). This adds “air” to the entire spectrum but especially the bottom and top end get more bubbly and
spatial. This sound relies heavily on architecture from the INPUT 2 of our original MARK I. FAT excels at big, featured chording parts
and single note clean soloing and is also a great choice for clipped sounds (with the BASS control set low) in the 10 Watt Power Mode.
FAT is in every way opposite to the tight, bright voice of CLEAN. This circuit pays homage to the early Black Face ‘60s era circuits
pioneered by Leo Fender and this classic voice has become tightly interwoven into the fabric of classic Rock and Blues sounds.
Sweet shimmering highs that soar up where angels fly, yet ring with bell-like authority low enough for you and the rest of the band to
appreciate with cut and presence. Proud mids that are punchy and tight, yet are low enough to carry weight and add girth. Big, airy
lows that start at the center of the earth and bring the biggest fundamental possible from these little power tubes and get the party
started in a hurry. These qualities produce an easy to play feel on the strings that invite you in…coaxing you to play your best and of
course… with soul.
PAGE 11
FAT works great for chording and rhythmic work, but in contrast to the CLEAN Mode, FAT sings with a huge, lush voice that fills-in a
mix and casts a halo of harmonic richness around the entire instrument. The sonic footprint is much wider and can carry a part such
that it becomes the backbone of a song without any processing.
The gain structure of FAT is tapered so that it’s more suited to threshold and clipped sounds with more gain lower, and presenting
sooner on the GAIN Control. As FAT is pushed toward clip, the bigger cathode values in the preamp deliver a smooth, rich break up
that is usually preferable for both smeared chording and bluesy single note solo work. This extra gain down lower fills-in all the jagged
edges in chords and lends girth to the single notes. These qualities cause many players to choose FAT as their go-to Mode for mildly
overdriven sounds that are more “purring” and less pointed and jabbing. FAT is really useful in the studio for both clean and slightly
driven parts as well, where you want to have a big sound and yet retain all your dynamic nuances. This is especially true in the 25
Watt setting of the Power Select switch, where the power section can deliver dynamic differences more effortlessly due to increased
headroom.
One important thing to keep in mind is that the lower centering of bass frequencies makes it possible to overload both the preamp and
speakers quite easily by setting the BASS and MID Controls in their higher regions (above 11:00). The power section isn’t immune
either as the extra lows will use up power quickly (it takes more wattage to amplify low frequencies) and along with premature clip,
you will create a tubby, indistinct sound that is not very pleasing. Follow the simple rule we suggested earlier in the HELPFUL HINTS
Section of this Operating Guide; As the GAIN control goes up—the BASS (and MID in this case) should come down. This will help
you avoid overloading your entire rig with lows and avoid tubbing-out your sound.
NOTE: Lower frequencies produced in the FAT mode can create a bottom heavy, flubby sound that can overwhelm your speakers and
eat up headroom if the BASS(and MID) control is set too high, especially in combination with high GAIN settings. It is normal—and in
fact suggested—to run lower BASS (and even MID) settings (10:00- 7:30/OFF) in the FAT Mode as the GAIN is increased.
CRUNCH
This mode is taken directly from the MARK FIVE™ and here it represents the perfect “crossover Mode”. It’s got girth
and is balanced frequency-wise and CRUNCH provides a sound that still has urgency and dynamics, yet is warm, rich and is adept at
covering the valuable ground from the onset of clip up through grinding Heavy Rhythm. This makes CRUNCH one of the most versatile
Modes in the entire amp and despite its name, this sound works equally well for both chording, Rhythm and single note Lead work.
You will find that the TREBLE control can be used in the higher range without becoming too bright. This region will add more gain
in the top end, but you can blend it nicely by reducing the PRESENCE Control if it gets too bright. Conversely, the BASS can be
reduced in CRUNCH to get some increased tightness and yet the overall character remains warm with plenty of low end inherent in
the basic character.
CRUNCH also works beautifully in tandem with the Channel POWER SELECT switch when the GAIN Control is applied with common sense. Again, let the EL84s add some gain in the power section and reduce the GAIN Control in the preamp to unveil sounds
that have both thickness from the preamp and attitude from the power section. Some amazing sounds arise out of the 10 watt Power
Mode when CRUNCH is used this way. This applies to both chording and single note sounds.
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