Mesa-Boogie Mark IV User Manual
M
ESA
B
OOGIE
M
Owner’s Manual
ARK
IV
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
Hello from the Tone Farm...
YOU, the 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. Our reward is
that we’ve made a classic amplifier and by choosing this amplifier, 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 an archetypical guitar amp bred of fine all tube amp
heritage...benefiting from the many patented pioneering MESA/Boogie 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.
MARK IV
Table of Contents
PRECAUTIONS
OVERVIEW_____________________________ 1
FRONT PANEL:
POWER-UP ____________________________ 2
CONTROLS:
RHYTHM 1 GAIN ________________________ 3
PULL BRIGHT __________________________ 3
R 1 TREBLE ____________________________ 3
R 1 + R 2 BASS and R 1 + R 2 MID _________ 3
R 1 PRESENCE _________________________ 4
R 1 MASTER ___________________________ 3
RHYTHM 2 GAIN & FAT __________________ 4
R 1 + R 2 BASS and R1 + R 2 MID __________ 4
R 2 TREBLE ____________________________ 5
REAR PANEL:
A.C. RECEPTACLE _______________________ 9
FUSE __________________________________ 9
REVERB & REVERB FOOTSWITCH ________ 10
EQ ROCKER SWITCH ____________________ 10
SATELLITE CONTROL: EQ & SEND JACK __ 10
EFFECTS LOOP SECTION ____________ 10 & 11
RECORDING OUT _______________________ 11
SLAVE OUT (D.I.)________________________ 11
TRIODE & PENTODE SWITCH _____________ 11
SIMUL-CLASS & CLASS A SWITCH ________ 12
HARMONICS & MID GAIN SWITCH _________ 12
POWER TUBE SUBSTITUTION ________ 12 & 13
SPEAKER JACKS _______________________ 13
R 2 PRESENCE _________________________ 5
R 2 MASTER ___________________________ 5
SETTING THE LEAD MODE:
LEAD GAIN _________________________ 5 & 6
LEAD TREBLE __________________________ 6
LEAD BASS & LEAD MID _________________ 6
LEAD DRIVE ___________________________ 6
LEAD BRIGHT __________________________ 7
LEAD PRESENCE & LEAD MASTER ________ 7
GRAPHIC EQ ________________________ 7 & 8
OUTPUT LEVEL_________________________ 8
SILENT RECORDING (Pull Switch) _________ 8
STANDBY______________________________ 8
POWER (Full & Tweed Power) _____________ 8
MODE SELECTOR SWITCH _______________ 13
EXTERNAL SWITCHING JACK ____________ 14
GOING STEREO ________________________ 14
FACTORY SAMPLE SETTINGS ____________ 15
PERSONAL SETTINGS PAGE _____________ 16
TUBE TASK CHART _____________________ 17
TUBE NOISE & MICROPHONICS ___________ 18
DIAGNOSING PRE-AMP TUBES PROBLEMS_ 19
BIAS ADJUSTMENT ______________ 20,21 & 22
PARTS SHEET __________________________ 23
NOTE: Do to the sophistication and advanced
layout of this amplifier, we strongly urge you to
read and understand the workings and how to's
of your new MARK IV...doing so will save time
and increase your enjoyment.
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:
Do not expose amplifier to moisture, rain or water, 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.
Insure adequate air circulation behind amplifier.
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.
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.
Remove the power plug from the AC mains socket if the unit is to be
stored for an extended period of time.
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 for this product filled out by the store at
which it was purchased and return to MESA Engineering.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANET 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.
MARK IV
M
ARK
IV
Operating Instructions
Overview:
Congratulations for choosing the MARK IV as your new musical voice. You have purchased a handbuilt instrument of the finest
quality and craftsmanship. In 1984 Mesa/Boogie introduced the world’s first “Tri-Modal amplifier - the MARK lll - with separate
modes for Clean Rhythm, Crunch Rhythm and Lead Overdrive. Now the MARK IV concentrates six years of intervening design
experience into a masterful new instrument which promises years of musical enjoyment.
Every possible useful feature is included, some for the first time ever. Precise, separate adjustment of each mode is simplified by the
complete and logical array of controls...making the MARK IV easier to use than its predecessor. No compromises were tolerated in
regard to performance, reliability or component quality. Individual master-craftsmanship is evident throughout the construction and
testing of each MARK IV. And best of all, the sound quality of each mode is devastatingly accurate! We want your new MARK IV
to be the last amplifier you ever need to buy.
FRONT VIEW:
5
6
7
8
9
10
1
0
RHY1 GAIN
INPUT
REAR VIEW:
4
3
2
10
0
1
2
3
4
PULL BRIGHT
RHY2 GAIN
LEAD GAIN
8
9
10
0
1
2
INSTRUMENT
FUSE
3A SB
117 VOLTS
60 HZ
4 AMPS
9
6
5
7
6
4
3
MARK IV
MARK IV
PULL FAT OUT
5
4
6
8
7
7
8
9
0
10
PULL FAT
R1 TREBLE
LEAD TREBLE
5
6
7
8
5
9
1
10
PULL FAT
0
PULL FAT OUT
3
4
5
6
7
8
REVERB
OFF
GRAPHIC EQ
ON / OFF AUTO R2
REMOTE
3
2
1
4
3
2
2
1
0
10
9
3
2
4
1
0
5
10
6
7
9
8
R1+R2 BASS
LEAD BASS
3
2
1
4
0
5
10
6
7
9
8
REVERB FTSW.
SATELLITE EQ
SATELLITE
SATELLITE SEND
R1+R2 MID
FX LOOP ON
SIG.
PATH
8
9
10
0
1
LEAD MID
10
0
1
2
3
FULL TIME
FX LOOP
SWITCHING
LEFT
(STEREO)
RETURN
7
2
4
8
9
6
5
10
4
0
1
3
R2 TREBLE
LEAD DRIVE
6
9
7
8
8
7
9
6
10
5
PULL BRIGHT OUT
AUTO
RHY 1
RHY 2
AUTO ASSIGN SWITCHES
FX SEND
2
0
7
3
5
1
6
5
4
4
3
2
AUTO
RHY 2
LEAD
RIGHT
(MONO)
RETURN
4
5
6
7
8
9
PRESENCE
CONTROLS
R1
4
5
6
7
8
9
MASTERS
PULL BRIGHT
3
2
4
1
5
6
7
9
8
RECORDING
LEVEL OUT
2
3
1
4
0
5
10
6
7
9
8
SLAVE (D.I.)
Instant Gratification Demo Settings
3
3
0
10
2
10
2
10
1
0
1
0
4
5
6
7
8
9
PULL SHIFT
R2
3
4
5
6
7
8
POWER AMP
SPEAKERS
TRIODE SIMUL-CLASS HARMONICS
PENTODE
3
2
10
9
8 OHM
2
1
0
1
0
10
3
4
5
6
7
8
PULL SHIFT
LD
3
4
5
6
7
8
CLASS A
4 OHM
1
0
10
9
2
1
0
10
80 240 750 2200 6600
9
LEAD VOICING
RHY 1
FT SW
MID GAIN
HANDBUILT IN PETALUMA CALIFORNIA
4 OHM
RHY 2
LEAD
EX SW
MODE SELECT
2
SILENT
RECORDING
(PULL)
3
2
4
1
0
5
10
6
7
9
8
OUTPUT LEVEL
M
ARK
CLASS A/ SIMUL FX LOOP
EXTERNAL SWITCHING JACKS
RHYTHM 1
EQ
ON
STANDBY
RHYTHM 2
IV
LOOP
FULL
POWER
TWEED
POWER
EQ
LEAD
PAGE 1
First familiarize yourself with the layout of the Front Panel and plug in the FU-3 footswitch which is located on the underside of the
FRONT PANEL:
And now looking to the Rear Panel...
chassis towards the middle and about mid way forward of the Rear Panel. It’s not necessary to unplug the footswitch after use, simply
use the handy fasteners on the left and right side of the cabinet and attach the unit for storage and/or transport. Make sure the
footswitch cable is connected properly. It has three pins and a key way for mating itself to the female portion of the jack. When
connected, the FU-3 footswitch will allow you to select the various modes,FX Loop and the EQ of the MARK IV remotely. If you don’t
have the footswitch available, the MODE SELECT rotary switch located on the Rear Panel will access the modes. Before we get too
specific about each control, let’s audition the 3 modes with some basic settings just to get your new MK IV up and purring.
POWER-UP:
Connect your favorite guitar to the instrument input jack. Flip the power switch to the FULL POWER position while leaving the
STANDBY switch set to “STANDBY.” ( It is always a good idea to practice this start up procedure as at least 30 seconds of warm-up
time lessens the shock on cold power tubes, thus prolonging their life substantially.) Using the example below as a guide, set the
controls as illustrated and flip the STANDBY switch to the “ON” position. Listen to the three distinctly different modes using either the
footswitch or the MODE SELECT rotary switch as mentioned in the previous paragraph.
RHY 1 pull
BRIGHT out
5
6
7
8
9
10
1
0
RHY1 GAIN
INPUT
4
3
2
INSTRUMENT
RHY 2 pull
FAT out
10
0
1
2
3
4
PULL BRIGHT
RHY2 GAIN
LEAD GAIN
8
7
9
10
0
1
2
LEAD GAIN
Pull FAT out
9
5
6
3
8
7
6
5
4
4
5
6
7
8
9
10
PULL FAT
R1 TREBLE
LEAD TREBLE
4
5
6
7
8
9
10
PULL FAT
3
2
1
0
3
2
1
0
1
2
3
4
5
6
7
R1+R2 BASS
LEAD BASS
3
4
5
6
7
8
9
7
6
5
4
3
4
3
2
1
0
8
7
9
6
5
10
4
0
1
3
2
R2 TREBLE
LEAD DRIVE
5
6
7
4
8
3
9
2
10
1
0
LEAD DRIVE
Pull BRIGHT out
PRESENCE
CONTROLS
R1
MASTERS
PULL BRIGHT
8
9
0
10
10
0
9
1
8
2
R1+R2 MID
LEAD MID
5
2
6
1
7
0
8
10
9
10
Pull Shifts for
R2, Lead Out
3
4
5
6
7
8
9
4
5
6
7
8
9
10
3
10
2
1
0
2
1
0
4
5
6
7
8
9
PULL SHIFT
R2
3
4
5
6
7
8
Pull
LOOP
3
2
1
0
10
2
1
0
10
9
4
5
6
7
8
PULL SHIFT
LD
3
4
5
6
7
8
1
0
10
9
2
1
0
10
80 240 750 2200 6600
9
2
3
SILENT
RECORDING
(PULL)
5
6
OUTPUT LEVEL
EQ
FULL
ON
STANDBY
IV
POWER
TWEED
POWER
2
3
1
4
0
10
7
9
8
M
ARK
In the example above the Graphic E.Q. is set in the ever so popular “V” curve shape. Most players tend to use it more in the LEAD
channel, finding the RHYTHM channel plenty sweet by itself without the use of the E.Q. ( for more information regarding the E.Q., see
page 6 .)
FUSE
3A SB
117 VOLTS
60 HZ
4 AMPS
3
2
4
1
0
5
10
6
7
9
8
REVERB
OFF
GRAPHIC EQ
ON / OFF AUTO R2
REMOTE
REVERB FTSW.
SATELLITE EQ
SATELLITE
SATELLITE SEND
SIG.
PATH
FX LOOP ON
FULL TIME
FX LOOP
SWITCHING
LEFT
(STEREO)
RETURN
AUTO
AUTO
RHY 1
RHY 2
LEAD
RHY 2
AUTO ASSIGN SWITCHES
RIGHT
(MONO)
FX SEND
RETURN
3
2
4
1
0
5
10
6
7
9
8
RECORDING
LEVEL OUT
2
3
1
4
0
5
10
6
7
9
8
SLAVE (D.I.)
TRIODE SIMUL-CLASS HARMONICS
CLASS A
4 OHM
LEAD VOICING
POWER AMP
PENTODE
SPEAKERS
8 OHM
RHY 1
FT SW
MID GAIN
HANDBUILT IN PETALUMA CALIFORNIA
4 OHM
RHY 2
MODE SELECT
LEAD
EX SW
CLASS A/ SIMUL FX LOOP
EXTERNAL SWITCHING JACKS
RHYTHM 1
RHYTHM 2
EQ
LEAD
Viewing from the back of the amp, locate the REVERB control and set to 3. Set E.Q. switch to the center position (OFF). LEAD
VOICING switch should be set to HARMONICS and ignore the FX Loop for now. Set the power amp switches to SIMUL-CLASS and
TRIODE.
After these initial settings have been made, plug in your guitar (STANDBY switch “ON’) and play! Use the three MASTER controls to
balance volumes between the modes. Use the OUTPUT LEVEL to raise or lower overall playing loudness. Dial in the PRESENCE
controls to set brightness before adjusting TREBLE controls. RHYTHM 1 should be clean, fat, warm and round. RHYTHM 2 should be
near maximum crunch, yet it’s capable of many other sounds as well. The LEAD mode should have searing sustain even though its
GAIN control is only around half. Now lets get into understanding the controls and the way they interact to obtain the sounds you want
to hear.
PAGE 2
CONTROLS:
RHYTHM 1 GAIN:
Setting the RHYTHM 1 mode adjusts the input sensitivity for the clean RHYTHM mode. With most guitars, this mode stays clean until
around 8 where it begins to overdrive. Use the R1 MASTER to control loudness if you want slight overdrive at low volumes. This mode
was very carefully designed to provide great rhythm sounds, from the best of vintage, Fender-type (clean or solo)
6
5
7
4
8
3
9
2
1
10
0
RHY1 GAIN
PULL BRIGHT
INPUT
INSTRUMENT
PULL BRIGHT:
This function adds shimmer and sparkle to your sound when activated. Note that the amount of added brightness varies with the R1
6
5
7
4
8
3
9
2
1
10
0
RHY1 GAIN
PULL BRIGHT
to a more modern, shimmering “funk rhythm” sound. Be sure to try this mode played really loud; you’ll love it for
blues or rock. (See the “Traditional Blues” setting on the Sample Settings sheet found on page 15 of this manual.)
GAIN setting: more brights at lower settings, less at higher. For super shimmer, run the GAIN at around
or
3
4
with the BRIGHT pulled out. For the most naturally balanced sound, run the GAIN at around 6 or 7 with the
BRIGHT pulled.
RHYTHM 1 TREBLE:
This control dials in the MARK IV’S predominate tonal characteristic. In the
Most common settings are in the
thru 7 range and note how the overall “gain” of the mode increases with higher TREBLE
5
to 3 range, a dark, warm jazz tone is obtainable.
0
control settings. This is because so much of the energy of the musical spectrum is channeled
through this most powerful tone control. As this is true for all modes, the MARK IV includes three
6
5
7
8
9
1
10
0
RHY1 GAIN
4
3
2
10
0
1
2
3
4
PULL BRIGHT
RHY2 GAIN
9
8
7
6
5
6
7
8
9
PULL FAT
R1 TREBLE
5
4
3
separate TREBLE controls.
2
1
0
10
R1 + R2 BASS & R1 + R2 MID:
These are the only shared tone controls aboard the MARK IV. Because of internal circuitry changes which occur when switching
modes, you will most likely find R1’s optimum setting works well for RHYTHM 2. The effect of these two tone controls is largely
determined by the setting of the TREBLE controls. Only when the TREBLE control is set very low (or off) are the BASS and MID
controls really strong.
6
5
7
4
8
3
9
2
1
10
0
5
4
6
7
8
9
0
10
R1+ R2 BASS
3
2
1
5
4
6
3
7
8
9
10
R1+ R2 MIDR1TREBLE
At normal TREBLE control settings, their effect is greatly diminished and they serve mainly to round
2
1
0
out and fill up the overall tone. Do note however, that setting the BASS control too high can result
in unwanted flubbiness, especially in RHYTHM 2. The recommended setting for the BASS control
is
to 3 and for the MID control it is 4 to 7 .
0
PAGE 3
CONTROLS:
(Continued)
R1 PRESENCE:
This control adjusts frequencies higher than those found on the TREBLE control. There are so many different sounds that RHYTHM
1 can produce, you must experiment using your guitar and your ears. Try settings such as low on the TREBLE control, high on the
PRESENCE control...and the opposite...as an experiment, both with and without the BRIGHT switch.
7
6
2
R2 MID
5
4
3
10
9
0
1
2
3
5
4
R2 TREBLE
5
4
6
8
7
6
7
8
9
PRESENCE
CONTROLS
3
2
1
0
10
Notice too that when playing very loud, higher settings of the PRESENCE will help you cut through
PULL SHIFT
the background wash of cymbals. Don’t forget to turn RHYTHM 1 up loud and blow...It’s a great
overdrive sound as well !
R1 MASTER:
This MASTER control adjusts the signal level of the RHYTHM 1 mode. It allows you to run various settings of the RHYTHM 1 GAIN
2
3
5
4
R2 TREBLE
LEAD DRIVE
10
9
0
1
2
3
5
4
7
6
8
7
6
2
8
MASTERS
PRESENCE
3
5
4
R1
5
4
6
7
9
0
10
while still controlling overall RHYTHM 1 volume via the MASTER. That’s important because of the striking
7
6
tonal differences the BRIGHT switch makes at lower and higher settings of gain, and because high GAIN
control settings are useful for producing “onset of clip” distortion sounds. The R1 MASTER also acts as an
Effects Send Level control for RHYTHM 1.
3
2
1
RHYTHM 2 GAIN & FAT:
RHYTHM 2 GAIN sets the overall characteristic of this mode, which is the most versatile of the three modes. At high settings
9
10
and with the FAT switch pulled, RHYTHM 2 produces its maximum gain for crunch and can double as an alternate lead sound. This
modes’ gain falls off quickly as the control’s knob is reduced, providing a range of lower-gain “onset of clip” sounds and the ability to
produce an alternate voicing for clean sounds at its lowest settings.
5
6
7
8
9
1
10
0
RHY1 GAIN
INPUT
4
3
2
6
7
8
9
10
0
PULL BRIGHT
RHY2 GAIN
5
4
3
2
1
PULL FAT has tremendous impact on both the gain and voice of RHYTHM 2. When pushed in, RHYTHM
2 loses gain in the low mids and the sound reveals more of your guitar’s inherent personality. For clean
PULL FAT
playing or blues styles you’ll probably prefer the FAT pushed in. Work with the R2 TREBLE control and
PRESENCE controls to dial in traditional blues-style solo tones from RHYTHM 2. For hard rock and
metal sounds, pull out the FAT and max the RHYTHM 2 GAIN control, using RHYTHM 2 TREBLE and
PRESENCE to dial in cut and brightness.
INSTRUMENT
R1 + R2 BASS & R1 + R2 MID:
These are the only shared tone controls on the MARK IV. You probably won’t need much adjustment from their RHYTHM 1 setting
because they are designed especially to have less dramatic effect in RHYTHM 2. Again you’ll notice
that the strength of these controls is influenced by how high or low the RHYTHM 2 TREBLE is set.
5
6
7
8
9
10
0
R1 TREBLE
4
1
3
2
5
4
6
7
8
9
10
R1+ R2 BASS
0
5
4
6
7
8
9
10
R1+R2 MID
3
2
1
Excessive settings (especially of the BASS control) can cause a flubby sounding distortion if the
0
TREBLE control is set low.
3
2
1
PAGE 4
CONTROLS:
(Continued)
RHYTHM 2 TREBLE:
This control along with RHYTHM 2’s PRESENCE control should be worked with together to produce the desired gain and brightness
of the mode. Setting the TREBLE higher, as always, increases the gain of the mode and allows increased distortion and sustain.
Lower settings allow the MID and BASS controls to become more dominant adding warmth to the
6
5
7
8
9
1
10
0
R1 +R2 BASS
6
5
7
8
9
1
10
0
R1 +R2 MID
4
3
2
4
3
2
5
4
6
7
8
9
10
R2 TREBLE
sound.
3
2
1
0
R2 PRESENCE:
RHYTHM 2’s PRESENCE control also works on higher frequencies than the TREBLE, so by working with both controls, you can
produce any sound from fat and thick to searing and shredding. Don’t be surprised if loud group playing requires higher PRESENCE
control settings to cut through...this is why we’ve provided the three modes with their separate Presence
5
6
1
0
TREBLE
4
2
3
8
9
PRESENCE
CONTROLS
R 1
6
5
7
4
3
2
1
10
0
5
6
7
8
9
PULL SHIFT
R 2
4
3
2
1
0
10
The RHYTHM 2 (and LEAD) PRESENCE control also has a PULL SHIFT feature. This Shift normalizes
the amount of high frequencies produced in the power section. With the PULL SHIFTS engaged, the
controls.
Presence controls will be more effective and will act on a higher frequency range. When the SHIFTS are pushed in, a punchier, more
aggressive tone is produced and the PRESENCE controls effectiveness is reduced.
R2 MASTER:
This MASTER control is used to balance playing loudness in RHYTHM 2 and also determines the amount of RHYTHM 2 signal at the
Effects Send jack.
9
10
1
0
R2 TREBLE
LEAD DRIVE
5
6
7
8
9
10
1
0
3
2
4
3
2
PRES
PULL BRIGHT
9
10
CONT
R 1
7
8
9
MASTERS
3
2
1
0
5
6
4
3
2
10
1
0
PULL
3
9
2
10
1
0
R 2
4
5
6
3
7
2
8
1
9
0
10
SETTING THE LEAD MODE:
LEAD GAIN:
This control sets up the input sensitivity for the LEAD mode. The more signal strength dialed in here, early in the preamp, the more
distortion will be available at the LEAD DRIVE control. Yet it is not necessary or recommended to turn the LEAD GAIN fully up.
6
5
7
8
9
10
1
0
RHY1 GAIN
INPUT
4
3
2
6
7
8
9
10
0
PULL BRIGHT
RHY2 GAIN
LEAD GAIN
7
8
9
10
0
1
INSTRUMENT
5
4
3
2
1
become extremely focused, rich and smooth; above
of the tone controls and causing increased “microphonics” and noise in the preamp tubes. You’ll notice
PULL FAT
subtle shifts in distortion tonality by trying different mixes of LEAD GAIN and LEAD DRIVE. The LEAD
Best results will occur with settings in the
6
5
4
3
2
GAIN control incorporates a PULL FAT for thickening the sound and saturating the signal further. This pull
shift lowers the frequency of the Treble, adding a boost in the lower midrange. Try this shift for beefing up
PULL FAT
the sound of weaker, stock pick-ups or simply for adding focus at virtually any setting of the GAIN control.
range. As you approach a Gain of 7 the Lead sound will
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, total saturation occurs, reducing the effectiveness
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