Mesa Boogie MARK-V-HEAD, MARK-V-COMBO Users Manual

Owner’s Manual

Hello from the Tone Farm

Congratulations on your choice of the MARK V and welcome to the Mesa/Boogie Fam­ily! The instrument you’ve selected has a deep heritage that combines the best attributes
of vintage tube amplification with pioneering innovation that brings high-gain channel
switching performance to a new frontier. One look to the right side of the Rear Panel ­where a stack of 9 patents proclaim the authenticity of these groundbreaking circuits and
features (beware imitators) and you should feel a sense of pride that you’re playing an
amp like no other.

Our 40 year commitment to excellence along with our solemn promise to musicians - to
treat each of them as we ourselves would wish to be treated - guarantees you an experience
that will make you feel truly justified in your choice. We’re confident your new amplifier
will have you smiling and inspired within minutes of plugging in for the first time…but
what’s really gratifying is that you will be finding new and inspiring sounds years after
your price of admission has faded from memory and the MARK V continues to unveil it’s
true worth.

It’s with our sincere thanks for trusting us with your TONE and our best wishes for all
your musical endeavors that we welcome you home. Should you ever need assistance or
guidance we’re here to help. You now have in your hands an instrument of limitless ex­pression. Our hope is that it takes you and your playing to new and unimagined places
throughout your musical journey. From all of us here at MESA…Enjoy!

Table of Contents

PRECAUTIONS
OVERVIEW: FRONT PANEL __________________ 1-4
OVERVIEW: REAR PANEL ___________________ 5-6
GETTING STARTED _______________________ 7-10

THE CHANNELS:

CHANNEL 1 _______________________________ 11
CHANNEL 2 _______________________________ 12
CHANNEL 3 _______________________________ 13
NOTE FROM THE AUTHOR ________________ 14-16

THE MODES:

CHANNEL 1: OVERVIEW _____________________ 17
CHANNEL 1 : NORMAL / BOLD _______________ 17
CHANNEL 1: CLEAN ________________________ 18
CHANNEL 1: FAT ________________________ 18-19
CHANNEL 1: TWEED _____________________ 19-20

CHANNEL 2: OVERVIEW _____________________ 20
CHANNEL 2 : MARK I NORMAL / THICK ________ 20
CHANNEL 2: EDGE _________________________ 21
CHANNEL 2: CRUNCH ______________________ 21
CHANNEL 2: MARK I ________________________ 22

CHANNEL 3: OVERVIEW _____________________ 23
CHANNEL 3: NORMAL / BRIGHT ______________ 23
CHANNEL 3: MARK IIC+ _____________________ 24
CHANNEL 3: MARK IIC+ __________________ 24-25
CHANNEL 3: MARK IV ____________________ 26-27
CHANNEL 3: EXTREME ______________________ 28

FRONT PANEL: FEATURES

OUTPUT & SOLO ___________________________ 38
SOLO: PULL MUTE _________________________ 38
LED INDICATION ___________________________ 39
STANDBY _________________________________ 39
FULL POWER / VARIAC POWER _______________ 39

REAR PANEL: FEATURES

FUSE _____________________________________ 40
EXTERNAL SWITCHING _____________________ 40
EFX LOOP _____________________________ 40-41
REVERB __________________________________ 41
SWITCHABLE RECTIFIERS __________________ 42
CHANNEL 3: TRIODE / PENTODE ______________ 42
SPEAKERS ________________________________ 43
TUNER OUT _______________________________ 43
SLAVE ____________________________________ 43
BIAS SELECT ______________________________ 43

SAMPLE SETTINGS ______________________ 44-45
USER SETTINGS ________________________ 46-47
BIAS ADJUSTMENT ARTICLE _____________ 48-50
DIAGNOSING TUBE PROBLEMS ___________ 51-52
SPEAKER IMPEDANCE HOOKUP GUIDE ____ 53-58
PENTODES, TRIODES AND IRISHMEN ______ 59-61
TUBE TASK CHART _________________________ 62
PARTS SHEET _____________________________ 63

FRONT PANEL: EQ, POWER SELECT

EQUALIZER ____________________________ 29-30
POWER SELECT: 90W SIMUL CLASS __________ 30
POWER SELECT: 45W EXTENDED CLASS A ____ 31

POWER SELECT: 10W CLASS A ___________ 31-32

FRONT PANEL: THE CONTROLS

GAIN _____________________________________ 33
MASTER __________________________________ 34
PRESENCE _____________________________ 34-35
TREBLE _______________________________ 35-36
MID ______________________________________ 36
BASS _____________________________________ 37

READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.

IMPORTANT SAFETY INSTRUCTIONS

Read these instructions.

Keep these instructions.

Heed all warnings.

Follow all instructions.

Do not use this apparatus near water.

Clean only with dry cloth.

Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet,
consult an electrician for replacement of the obsolete outlet.

Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

Only use attachments/accessories specified by the manufacturer.

Unplug this apparatus during lightning storms or when unused for long periods of time.

Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally,
or has been dropped.

To insure proper ventilation always make sure there is at minimum four inches (101.6mm) of space behind the rear of the apparatus. The ventilation should not
be impeded by covering the ventilation openings with items, such as newspapers, tablecloths, curtains, etc. Do not impede ventilation by placing objects on top
of the apparatus which extend past the rear edge of its cabinet.

No naked flame sources, such as lighted candles, should be placed on the apparatus.

The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.

WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

The AC plug is the mains disconnect. The plug should remain accessible after installation.

WARNING: EU: permission from the Supply Authority is needed before connection.

WARNING: Always make sure proper load is connected before operating the amplifier. Failure to do so could pose a shock hazard and may result in damage

to the amplifier.

Do not expose amplifier to direct sunlight or extremely high temperatures.

Always insure the amplifier is properly grounded. Always unplug AC power cord before changing fuse, tubes or removing chassis. Use only same type and
rating when replacing fuse.

Avoid direct contact with heated tubes. Keep amplifier away from children.

To avoid damaging your speakers and other playback equipment, turn off the power of all related equipment before making the connections.

Do not use excessive force when handling buttons, switches and controls. Do not use solvents such as benzene or paint thinner to clean the unit.

Always connect to an AC power supply that meets the power supply specifications listed on the rear of the unit. Export models: always insure unit is wired for
proper voltage. Make certain grounding conforms with local standards.

YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE!

Your Mesa/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.

Operating Instructions

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

CLEAN

TWEED
EQ ON

O

EQ FS

10 W

45

EQ ON

O

EQ FS

MARK I

NORMAL

CH 1

NORMAL

MARK I
THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

90 W 90 W 90 W

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

CH

1

2

3

FAT

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

INPUT

Ov e r v i e w : f r O n t p a n e l

The MARK V is really a collection of amplifiers. There are far too many circuits and sounds to think of it as merely an amp. It is also
a living history of our company. From the ground breaking MARK I that introduced the world to high-gain with it’s cascading pre amp,
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 this power
individual control, the MARK V is the embodiment of the last 40 years of guitar amp history.

PREAMP:

Three distinct Channels present the 3 footswitchable sounds in a simple to dial platform, but don’t let that fool you… beneath each
set of controls lies another layer of performance. Each preamp Channel contains 3 distinct Modes that are controlled by a simple
mini-toggle MODE switch found in the upper left corner of each Channel. This switch is responsible for the voicing of each Channel.
In some cases these voicings are related by style and give you important musical differences within a gain structure and sonic theme.
In other cases, both gain and EQ are radically altered to achieve drastically different sounds - yet these sounds appear on the same
set of controls. This is a result of needing a certain circuit architecture and Tone control string to achieve a particular sound style.
Sometimes these extreme mode differences require different Gain and Tone control treatments to achieve a recognizable and iconic
sound. In other words, it may require some dialing of the controls when you are touring through the modes. With circuits capable
of these extremes, there is simply no way to avoid this. Don’t worry though, with what you learn in this manual combined with using
your ear - you will quickly learn to choose a mode and dial it up to your needs in seconds.

CHANNEL 1 contains the lowest gain sounds of the three Channels and can be thought of as the Rhythm or Clean channel. The
other two channels contain modes that work better for soft clip, medium crunch and high gain rhythm work. There is a tight, skinny
CLEAN (toggle up), a warm, rich FAT clean sound with added lower fundamental (toggle center) and a higher gain pushed version
of this architecture found in TWEED (toggle down). A Channel-global BOLD voicing switch adds punch and cut starting in the high
mids to help you stand out in a dense mix and give you an increase in headroom.

FRONT VIEW: MARK V

REAR VIEW: MARK V

™

™

PAGE 1

Ov e r v i e w : f r O n t p a n e l (Continued)

CHANNEL 2 is the transitional channel between the low gain sounds of CHANNEL 1 and the high gain fury of CHANNEL 3. This
channel contains the biggest differences between modes and there is definitely dialing required as you toggle through the voicing
Modes. A stripped, British-inspired EDGE (switch up) unleashes low to mid gain aggression. Low mids are added for a thicker,
throatier CRUNCH sound that travels up the gain scale while retaining a tight attack. And finally, MARK I flips the architecture to
arrive at the iconic high gain voice that put MESA on the map back in 1970 with the little Boogie amp. This creamy voice is infused
with thick bottom end and works great for fattening up single note solo sounds. You may want to run the BASS control very low (off
to 10:00) when the GAIN is high in this mode to retain the best attack characteristic and avoid flubbiness. There is also a NORMAL/
THICK switch that affects the MARK I Mode only to add extra gain in the mids for added single note focus.

CHANNEL 3 goes on from there to encompass the best of the MARK Series Overdrive sounds. Beginning with the MK II C+ (switch
up) the sound is pure, blistering focus and this is the classic Boogie voice of the 80’s that became the foundation for players like
John Petrucci, James Hetfield, Kirk Hammett, as well as a staple for L.A.’s first call session players of the day Steve Lukather, Mike
Landau, Dean Parks and many more.

The classic “V” curve on the Graphic EQ became an integral part of this sound and went on to be the sound of choice for some of the
hardest hitting Punk and Hardcore bands of the 90’s and 2000’s and is still currently used by many top acts. The original II C’S bring
many times their original selling price - if you can find one - and this faithful recreation of that burning sound is the cornerstone of
CHANNEL 3. The MARK IV is also represented here in FAT (toggle center) where a dose of thick midrange gain is added combined
with a rounding out of the upper harmonic peak. Finally EXTREME (switch down) unleashes all the aggression and attack of this
circuit for a full gain assault that cuts through any mix. (Beware, the volume jumps up when EXTREME is selected.) There is also a
NORMAL / BRIGHT switch included that affects all three Modes in CHANNEL 3.

EQUALIZER:

The on-board 5 Band Graphic EQ has been an iconic trademark of MARK Series Boogies since they 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’s tight, focused gain
sound. In the ‘80’s the classic “V” setting of the EQ on MARK II and III models became a new sound in Heavy Rock and etched the
on-board Graphic a place in Rock history.

While the MARK V Tone Controls are accurate and effective over a wide range, they come earlier in the signal chain and can only
achieve so much shaping before they produce possible imbalances in certain Modes. (One example might be the Bass Control in
Channels 2 and 3 - where in the MARK I and MARK II-C 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, cabinets - and ultimately your ears - can handle. (Extreme settings of the two lowest
Bands – 80Hz and 240Hz will use up power quickly and overall headroom will be affected, especially in the 50W and 10W settings
of the Channel Power switch).

Each Channel is fitted with a mini-toggle to select the 5 Band Graphic EQ, but the fun doesn’t stop there. The MARK V gives you
the choice of two ways to utilize the power of the Graphic EQ for each Channel!

The mini-toggle within each Channel (center mini-toggle) allows you to decide whether you want the EQ on all the time in that Chan­nel - EQ ON (toggle up), off all the time in that Channel - EQ OFF (toggle center), or activated by the EQ button on the Footswitch

- EQ FTSW (toggle down).

A separate mini-toggle for each Channel located in the left side of the Graphic EQ section allows you to select whether you will use
the actual SLIDERS (toggle up) to shape your individual EQ curve or, a PRESET contour (toggle down) based on the ever- popular “V”
curve. The PRESET Mode is fitted with a PRESET DEPTH control that allows you to dial in the right amount of the PRESET contour

PAGE 2

Ov e r v i e w : f r O n t p a n e l (Continued)

for each Channel’s sound. For example, you might want to use the SLIDERS selection on Channel 3 to craft your own signature lead
sound and two different mixes of the PRESET setting on Channels 1 and 2 for your clean rhythm and crunch sounds.

The ability to choose between these two options when assigning the Graphic EQ to your sounds gives you ultimate flexibility when
dedicating the Channels. By combining subtle blends of the Tone controls with the EQ options, virtually any sound you can imagine
is at your fingertips. Shaping power like this is what the MARK V is all about and another reason to smile, knowing you’ve made an
investment in your long-term musical journey. This is one instrument that can keep pace and grow with you as you evolve, helping
you to reach your full potential as a player.

POWER: MULTI-WATT

The bottom 3 position mini toggle in each Channel (lower left corner) is the MULTI-WATT™ Power feature that determines the amount
(wattage) and type (configuration) of power each preamp Channel will be coupled with to create a classic sound. Any amplifier’s
sound is 50% preamp and 50% power, so this switch is responsible for a large part of a given Channel’s personality and feel. The
choices repeat for all 3 Channels and they are 90 W, 45, and 10 W. Using the switch is simple… just select the power you want for
each Channel, keeping in mind that the greatest headroom, focus and authority will always be found in the 90 watt position. That’s
how to use it, but for those who want the full story, here it is.

Since 1981 Simul-Class™ Power has been the heart and soul of the MARK Series amplifiers, imparting its sweet, musical character
onto any sound in the vast library of the now classic MARK legacy. Cleans that shimmer with transparent layers of sweet delicate
highs, while the bottom end breathes a warm fundamental under a bed of rich low mid ambience. Never harsh - always fat, the Simul
lead tone is the quintessential single-note solo sound that is best described with a human trait…vocal.

This patented way of wiring an output section combines two pairs of power tubes with different bias settings and operating parameters
to arrive at a blend that showcases the best attributes of both.

Talking about amplifier operating classes is too complex a topic to fully cover in this user manual however our booklet “Class A: Exposed
and Explained” does a pretty thorough job and is available on-line at http://www.mesaboogie.com/US/Smith/ClassA.htm .

In simplified terms, our Simul-Class output comprises two dissimilar pairs of power tubes operating simul-taneously. One pair oper­ates more toward Class A for tone while the other pair runs the traditional Class AB to provide the extra horsepower needed for clean
headroom. Since its introduction in 1980, Simul-Class has evolved and improved, providing more power while still eliminating any
trace of harshness.

™

In the Mark II-C+ the Class A pair was permanently wired in Triode configuration and in the MARK V this can still be achieved (for
Channel 3 only) via the rear panel toggle switch. By reducing the tubes’ power sensitivity, Triode wiring pushes the pair even further
into the Class A region. This results in more dynamic compression and greater harmonic spread for the ultimate single-note fluid
sustain but it does reduce the clean headroom substantially.

So let’s quickly go through the power levels: The 90 WATTS position is the full Simul-Class mode with all four 6L6s combining the two
different bias settings to deliver the maximum power and headroom. It is substantially sweeter and warmer and a little more scooped
than a standard 100 Watt amp yet it has plenty of punch and authority without any harshness.

45 WATTS turns off the outer pair of 6L6s so only the middle two are running. These are the ones with the lowered bias so, while
they are still Class AB, their Class A region is extended. In Channel 3, they can be switched to run in Triode configuration which cuts
their clean headroom roughly in half.

Combining these two opposite styles of wiring in one amplifier gives you the best of vintage and modern amplifier styles. Headroom
and power are there when you need it… but there is always a naturally pleasing and musically curvaceous quality to the sound that

PAGE 3

Ov e r v i e w : f r O n t p a n e l (Continued)

is magic to your ears and to your hands. Simul feels great and is inspiring to play!

10 WATTS reconfigures the whole set of 6L6s so that the two nearest the 5U4 run pure Class A, single-ended—no longer push-pull.
This is the ultimate low wattage output circuit that duplicates the essence of the best really old vintage circuits. Here, the second
harmonic (an octave above the note played) is NOT cancelled out (as it is in push-pull circuits) and provides a magical halo surround­ing the notes. Onset of clip is so gradual that it’s hard to pin down the transition from clean to overdriven.

These three power choices give you ultimate flexibility as to the styles and venues the MARK V can adapt to instantly and in fact,
it’s like having three separate amps in one case - each having the perfect amount of power for a different application. And when
you combine the power of the separate PREAMP Channels, the combinations of EQ and the POWER options, you have the most
comprehensive collection of tube amplifiers ever brought together in one chassis. That’s a bold statement; but after you spend some
time exploring the combinations we’re sure you’ll feel the same.

OUTPUT & SOLO:

These two controls the overall output (volume) level of the MARK V when the EFFECTS LOOP switch on the Rear Panel is switched
into the LOOP ACTIVE (switch up) position. With the EFFECTS LOOP in the HARD BYPASS (switch down) position the OUTPUT and
SOLO are inactive and the overall volume levels will be determined by the MASTER control in the Channels. The EFFECTS LOOP
adds a whole stage of amplification and the OUTPUT and SOLO come after this stage. The HARD BYPASS feature is intended for
recording or solo playing environments where the balancing of the three channels is not so critical.

The OUTPUT control enables you to raise and lower the entire playing level of the MARK V without affecting the balance you have
set between the Channels with the Channel MASTER.

The SOLO control is a footswitchable Master Volume for the whole amp that is wired in parallel to the OUTPUT control. This allows
you to dial up a preset amount of boost and switch to it when it’s time to step out for solo passages or any time you want to showcase
a part. Simply set your desired overall playing level with the OUTPUT, Select SOLO on the MARK V Footswitch and set the desired
increase in volume level with the SOLO control.

NOTE: The SOLO control may only be used to increase the volume beyond the level of that set by the OUTPUT. You cannot use the
SOLO to switch to a level lower than that set by the OUTPUT Control.

NOTE: Check the setting of the SOLO control before switching to it as it may be set high and cause a shocking increase in volume.

The STANDBY shuts down part of the high voltage to the power tubes so that they can rest at idle without wear. It provides a start-up
procedure (follow the Cold Start procedure… wait at least 30 seconds after powering up with the POWER switch before turning the
STANDBY to ON). This reduces the shock on cold power tubes and increases their life. The STANDBY is also great for muting the
sound during speaker changes and should also be used to cool the amp down during set breaks or when swapping tubes.

A built-in variac is included on the POWER switch so that you may run the entire amp on a reduced voltage “brown-out” condition. This
reduced voltage changes the sound and feel of the entire amplifier. SPONGY Power scoops the midrange and increases the sag to
achieve a more vintage, looser, easier-to-clip character. FULL POWER (BOLD) delivers maximum headroom, focus and punch and
is considered the “normal” mode of operation.

PAGE 4

Ov e r v i e w : r e a r p a n e l

A four-position CHANNEL SELECT rotary control is provided to access the 3 Channels when the Footswitch is not connected (in the
studio) or available. Simply select which of the Channels you wish to play using this control when the footswitch is not in use. When
the Footswitch is to be used, select the position to the far right (when facing Rear Panel) labeled FT SW and insert the DIN connector
on the Footswitch Cable into the FOOT SWITCH jack on the right side of the Rear Panel.

A five-position rotary LOOP ASSIGN switch is provided to assign the EFFECTS LOOP to any or all of the Channels or, select FTSW
to trigger the LOOP on and off with the MARK V Footswitch. The EFFECTS LOOP must be in the LOOP ACTIVE position for the
LOOP ASSIGN rotary to function

NOTE: Check the OUTPUT level setting before activating the EFFECTS LOOP with the LOOP ACTIVE / HARD BYPASS switch (near
center of Rear Panel) to avoid damage to your ears, those of bystanders and to your speakers.

Four ¼” EXTERNAL SWITCHING phono jacks are provided for remote control of the MARK V Channels, EQ and SOLO control from
a master (possibly midi controlled) switcher. This feature is extremely important if the MARK V is to be used in a live stage set-up
where all amplifiers and processors are controlled under one keystroke from a programmable master switching device.

NOTE: The four EXT SWITCHING jacks respond to standard grounding type (tip to ground) latching (not momentary) logic. This
switching logic is standard on most master switching units.

The EFFECTS LOOP is fitted with a HARD BYPASS feature that removes a whole tube (two stages) and all associated circuitry from
the signal path for the purist who insists the most direct path to tone in the studio. When the EFFECTS LOOP is activated by switch­ing to LOOP ACTIVE (switch up) there is an adjustable SEND LEVEL control to assure optimum performance with your processing
devices.

NOTE: Remember that the HARD BYPASS removes the OUTPUT and SOLO controls from the signal path and the individual Channel
MASTER controls become the overall volume level controls.

Individual REVERB controls for each Channel allow you to set the desired mix of the rich all-tube Reverb effect for each Channel without
compromise. The REVERB effect can be taken in and out of the signal path with the REV button on the MARK V Footswitch.

A PENTODE / TRIODE mini toggle switch (located just under the CH 3 REVERB Control) allows you to choose the wiring configuration
of the middle pair of power tubes in Channel 3 only. This is a feature that was popular on the MARK 4 and changes the personality
of the attack and liquidity of the sound in the higher gain condition found in Channel 3. PENTODE produces a bolder, tighter voice
that has a more pronounced midrange curve and is excellent for adding percussive authority to lower gain single note solo sounds.
TRIODE softens the attack and scoops the mids a bit to create a more liquid, legato feel that really shines for high gain styles and
faster playing.

Switchable Rectifiers makes its debut on the MARK Series for the first time here on the FIVE in the form of Rectifier Tracking. Chan­nels 1 and 2 are fitted with individual mini toggles (located under the Channel 1 and 2 REVERB Controls) that allow you to choose
between the tight, bold - higher headroom response of Silicon DIODES or the saggier, sweeter low-output looseness of TUBES in
the 45 Watt Power setting only. The 90 Watt setting automatically selects the Silicon Diodes and the 10 Watt setting requires the Tube
Rectifier to operate safely.

Two 8 and two 4 Ohm SPEAKER OUTPUTS are provided and with these jacks almost any speaker cabinet configuration can be
accommodated. The MARK V is not overly sensitive to impedance mismatches, so feel free to experiment with different cabinet
schemes without fear of damage to your amplifier. Different loads will change the response, possibly to your liking. An 8 Ohm load
will produce the punchiest, tightest sound and the maximum headroom. Keep in mind that the (power) tube life will be increased by
running either an 8 or 4 Ohm overall load.

PAGE 5

Ov e r v i e w : r e a r p a n e l (Continued)

A ¼” TUNER OUTPUT is provided and a SILENT TUNING feature has been incorporated so you can tune the instrument on stage
without bothering the band or audience. Simply connect your favorite tuner and tap the TUNE the button on the MARK V Footswitch
and all sound to the Speaker Outputs is muted.

A SLAVE OUTPUT and SLAVE LEVEL Control allows you to capture the full sound of the MARK V, both preamp and power section,
for a feed to processing racks and/or additional power amps (perhaps MESA Stereo Rack power) for big venue applications.

NOTE: Always start any SLAVE hook-up procedure by zero-ing out the SLAVE LEVEL Control to avoid possible damage to your
speakers or your ears! In fact it is good practice to leave the SLAVE LEVEL Control set to 7:00 (OFF) when it is not in use to avoid
accidents.

The FOOT SWITCH DIN jack (female) is conveniently located on the right side of the Rear Panel and accepts a 7 pin male DIN cable.
Connect the MARK V Footswitch here.

The Cooling Fan is fitted with an ON/OFF switch to allow silent running in the studio or late night practicing in the lower wattage set­tings. We recommend leaving the FAN on whenever possible to increase the toneful life of your power tubes. Basically, if the sound
doesn’t bother you… leave the Cooling Fan on all the time.

Finally a BIAS SELECT switch is included that allows you to run EL34 power tubes in place of the stock compliment of 6L6’s. The
EL34 style tubes will produce a brighter, skinnier sound that will clip with a whole different harmonic content that can be nice, espe­cially for recording where you may not need the Channel switching performance of all 3 Channels and can dedicate the amplifier to
one specific sound. The 6L6’S will most likely perform better for a wide range of sounds and certainly sound fatter and richer on most
all the sounds and produce the greatest clean headroom. Whichever tubes you prefer, MAKE SURE THE SETTING OF THE BIAS
SWITCH MATCHES THE TUBES IN USE!

NOTE: ALWAYS CHECK THE BIAS SWITCH AFTER SWAPPING TUBES AND EVEN AFTER TRANSPORTING YOUR AMPLIFIER!
THE BIAS SWITCH MUST BE SET FOR THE TUBES IN USE!

Now that you have had a bird’s eye view of the MARK V and a little history on the origin of some of the sounds, let’s start going
through the sounds and getting more specific with the function of the controls and how they interact…so you can get busy crafting
your signature sound!

PAGE 6

GettinG StarteD:

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

CLEAN

TWEED
EQ ON

O

EQ FS

10 W

45

EQ ON

O

EQ FS

MARK I

NORMAL

CH 1

NORMAL

MARK I
THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

90 W 90 W 90 W

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

CH

1

2

3

FAT

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

INPUT

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

CLEAN

TWEED
EQ ON

O

EQ FS

10 W

45

EQ ON

O

EQ FS

MARK I

NORMAL

CH 1

NORMAL

MARK I
THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

90 W 90 W 90 W

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

CH

1

2

3

FAT

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

INPUT

After unpacking the amplifier, remove the plastic webbing from all the tubes (including the preamp tubes behind the row of big 1.
power tubes and the Rectifier tubes. While you’re at it, check to make sure all the tubes are firmly seated in their sockets as
some may have loosened a bit during shipping.

Connect the A.C. Cord to a grounded (3 pin) A.C. outlet.2.

Unpack the Footswitch from it’s stored location (in combo’s it’s in a pouch fastened to the Back of the combo cabinetry) and 3.
connect the 8 pin DIN Footswitch cable to the FOOT SWITCH DIN jack on the right side of the Rear Panel. Select FTSW on the
(far left) Rear Panel CHANNEL SELECT Rotary Control. NOTE: Do Not Force The Cable Into The Jack! When the 8 pins are
aligned properly the connector will fit easily into the jack.

Connect your speaker enclosure to the proper matching impedance SPEAKER OUTPUT on the right side of the 4. MARK V Rear
Panel. An 8 Ohm load is preferable for your first experience with the MARK V as you will hear the full power potential and best
Tonal balance. (Combo speakers are shipped from us with the speaker(s) connected to the 8 Ohm SPEAKER OUTPUT).

Flip the POWER Switch to the FULL POWER (up) position while leaving the STANDBY Switch in the STANDBY position for at 5.
least 30 seconds. This allows the filaments to warm up in the tubes before being put to use. Following this cold-start procedure
every time you power up will increase the toneful life of your tubes.

If you intend to connect processing devices to your loop do so now and look up EFFECTS LOOP for proper connection and 6.
operation, although we recommend auditioning the MARK V without processing for the first time. If the Loop is to be in use set
the OUTPUT LEVEL control on the far right of the Front Panel To 9:00 (or lower) to avoid damage to your ears or speakers and
increase slowly to the desired level once STANDBY is lifted.

Follow the Sample Settings examples below and set the Controls at these approximate settings for a tour through your new world 7.
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.

Flip the STANDBY to the ON (up) position and enjoy the ride! 8.

SAMPLE SETTINGS:

Below are a couple of different ways to set up the 3 Channels for Channel Switching choices. Remember, there are countless ways
to set up the Channels and after reading the rest of this Guide, you will be well equipped and ready to dedicate the Channels to your
needs quickly and effortlessly.

PAGE 7

GettinG StarteD:

HELPFUL HINTS:

The Rear Panel CHANNEL SELECT Rotary control must be set to the FTSW (all the way right from rear) position for the Footswitch 1.
to trigger the Channels.

The OUTPUT and SOLO Controls are active only when the EFFECTS LOOP has been engaged and is in the signal path. When 2.
the LOOP is not in use the individual Channel MASTER Controls function as the overall master level controls. To engage the
EFFECTS LOOP and use the OUTPUT and SOLO controls, flip the Rear Panel EFX LOOP mini toggle (left center, low) to the
LOOP ACTIVE (up) position AND SET THE EFX SEND LEVEL CONTROL TO 12:00. NOTE: BE SURE TO START WITH THE
Front Panel OUTPUT CONTROL SET at 9:00 (or below).

The SOLO feature can only be activated by the SOLO button on the FOOTSWITCH or the Rear Panel EXTERNAL SWITCHING 3.
jack. It is not active without the Footswitch connected as it is a live performance feature. Remember that the EFFECTS LOOP
must be active to use the SOLO feature.

The SOLO feature can be used to achieve a footswitchable Boost above the level set by the OUTPUT control. It can not be used 4.
as a footswitchable “cut” or go below the level set by the OUTPUT.

The GAIN and TREBLE Controls are the most powerful tone shaping controls in each Channel and should be used with taste. 5.
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.

When using high GAIN settings try the EQ for adding extra top end as it comes later on in the signal chain and will be less stress-6.
ful on the preamp tubes in many cases. Remember the MARK V 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 rare set of preamp tubes to do that all the time.

You will experience a volume increase when selecting the Channel 3 EXTREME Mode from the two prior Modes in that Channel. 7.
This is normal and a result of changing the negative feedback in the power section.

The PRESENCE is very powerful at shaping the voicing of high gain sounds in Channels 2 and 3 (and even TWEED in Channel 8.

1). 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 lead sounds after you have dialed the
rest of the preamp controls to your liking.

PAGE 8

GettinG StarteD:

Beware too high of settings on the BASS control in Channels 2 and 3, especially when the GAIN is set high. Too much BASS will 9.
produce a flubby, indistinct attack. In the MARK 1 Mode of Channel 2 it is perfectly respectable and even recommended to run
the BASS control extremely low (8:30) or even “off” when the GAIN is set high (above1:30). The Modes in Channel 3 can stand
a little more BASS, but watch it there as well. A basic rule might be this; As the GAIN goes up…the BASS should come down.

The one exception to the prior warning is the Channel 2 EDGE Mode. Here you may want to run the BASS Control higher than on 10.
any other Mode in the amp. The preamp is switched around to focus the bass frequencies in a much higher region and therefore
you can dial in more of it before the sound gets bloated.

The MARK 1 NORMAL / THICK switch in Channel 2 affects only the MARK 1 Mode (middle MODE SELECT toggle down). 11.
THICK adds gain in the lower midrange and fattens the sound for more voice-like single note soloing or more grinding crunch
chord sounds.

The NORMAL / BRIGHT switch in Channel 3 works in all 3 Modes. NORMAL sounds more round, rich and warm and is a pure 12.
solo voice. BRIGHT lifts the veil, allowing a whole spectrum of higher harmonics to soar through unimpeded for that classic
Boogie stacked harmonic spread.

The TRIODE / PENTODE switch (on the left center of the Rear Panel below CH 3 REVERB Control) only affects the wiring of the 13.
power tubes and the sound in Channel 3. It will soften the attack and make the strings feel more liquid in TRIODE and tighten
the attack, add midrange punch and increase the headroom when set to PENTODE.

The RECTIFIER TRACKING switches (right center below CH 2 and CH 3 REVERB Controls only allow switchable rectifier choices 14.
in Channels 2 and 3 in the 45 Watt setting. (Front Panel Multi-Watt Power Select switch located in lower left corner of each Chan­nel). The tracking allows the choice of TUBE or Solid State rectifier in the 45 Watt Mode. Rectifiers are selected automatically:
(Solid State) in the 90 Watt and (Tube) 10 Watt Modes according to their power requirements and associated sound styles.

Beware of setting the EQ (both SLIDERS and PRESET Controls) to extremes when using the Channel 2 MARK 1 Mode. Be 15.
especially careful of the 80Hz and 240Hz, as these two along with very high settings of the PRESET Control 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 even damage lower wattage speakers if played at high volumes.

Speaker Impedance has a large sonic effect on the sounds as the 16. MARK V power section is switched between its’ three 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 in all 3 Channels. However, the Simul-Class™ Output Section is a mysterious animal and will
produce some interesting and musical results when different loads are applied. One favorite is connecting the 8 Ohm speaker
load to the 4 Ohm SPEAKER OUTPUT when using the 45 Watt (Half Power) setting. Feel free to experiment with different load
combinations. You can’t hurt your amplifier and you may discover an impedance scenario that, though is a technical “mismatch”,
produces a unique response that fits your needs. The only penalty might be that your power tubes can wear a bit faster with
certain load conditions, usually with mismatches in the low direction (4 Ohm load on the 8 Ohm OUTPUT).

PAGE 9

GettinG StarteD:

Make Sure The BIAS SWITCH (far right facing Rear Panel) Is Set To Match The Tubes In Use…ALWAYS! It is a good idea to Check 17.
This Switch after each time you transport your amplifier as it may get bumped and accidentally switched to an improper setting.
NOTE: Running the wrong BIAS setting can damage your amplifier and lead to unnecessary down time and costly repairs.

Your 18. MARK V will sound better and feel better to play if you have at least one speaker cabinet (the combo or an Extension 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, from room to room…we can use all the help we can get. This usually helps… with the only
exception being a stage filled with too many live mics…sometimes then you are forced to lift the amp to the coupling effect.

Try TWEED POWER (Front Panel POWER switch down) when you want to clip the two CLEAN Modes in Channel 1 at lower 19.
volumes. Using this in combination with the 45 and 10 Watt Power Modes can produce some sweet threshold-of-distortion,
vintage break-up sounds.

Use the STANDBY switch every time you power-up, during set breaks, cable hook-ups and anytime you are not playing for a few 20.
minutes. Doing so will increase the toneful life of your tubes.

PAGE 10

tHe CHannelS:

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

CLEAN

TWEED
EQ ON

O

EQ FS

10 W

45

EQ ON

O

EQ FS

MARK I

NORMAL

CH 1

NORMAL

MARK I
THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

90 W 90 W 90 W

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

CH

1

2

3

FAT

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

INPUT

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

EQ ON

O

EQ FS

MARK I

NORMAL

CH 1

NORMAL

MARK I
THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

2

3

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

The three Channels of the MARK V are each extremely versatile and therefore it is not entirely fair to categorize them as to Rhythm,
Crunch and Lead. Most players will initially assign Channel 1 to some sort of clean sound, Channel 2 to an overdriven rhythm or
chording sound and Channel 3 to a single note solo sound. While there is nothing wrong with this scheme - and in fact the MARK V
lays out nicely for this approach – it is also true that all three Channels are equally adept at all three types of sounds. In other words,
Channel 3 can produce great crunch rhythm sounds, Channel 2 is capable of some nice clean-ish sounds and Channel 1 boasts some
amazing solo sounds. So the lesson here is not to label the Channels as to style, and perhaps think of them more in terms of their
individual gain structure. 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. The Five was created to be an instrument of limitless
expression and possesses all the gain and shaping power to take you anywhere you wish to go in the world of Tone.

Here is a quick 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:

Lowest gain of the three Channels. Two Modes CLEAN (switch up) & FAT(switch center) are structured for clean sounds. These two

modes are well described by their names as in CLEAN is sweet, sparkling low gain beauty and FAT
adds big low end and breathiness to this sound. These two have the greatest headroom and the
most dynamic range and sensitivity. They are the least compressed and retain the fastest attack
characteristic.

The medium gain TWEED Mode (switch down) is dedicated to pushed, overdriven “clean” sounds.
TWEED 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 TWEED work equally well for both broken-up
chording and urgent single note soloing.

CHANNEL 1: NORMAL / BOLD

This switch works globally in Channel 1 and offers two choices in voicing the mids and upper mids / lower treble region. NORMAL

provides a balanced smooth response that shines for both shimmering sweet clean sounds and creamy soft-clip tones
as the modes are driven harder with the GAIN control. No particular frequencies stick out in this position which cre­ates a perfect base for rhythm work and makes NORMAL respond very well to further embellishment with either the
Graphic EQ or the PRESET Contour.

BOLD punches through with a pronounced bump in these mid and upper mid/ low treble frequencies that will allow
you to cut through a dense mix and be heard. It also gives the impression of increased power and headroom as cleans sounds fly
out of the speakers with immediacy and authority. Likewise overdriven sounds, especially in TWEED, willingly adopt the added attack
and turn it into stinging aggression. Be sure to work with the TREBLE, MID and PRESENCE in the BOLD setting to fine tune these
regions and optimize both the sound and the feel.

PAGE 11

OUTPUT

EQ ON

O

EQ FS

MARK I

NORMAL

MARK I

THICK

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

2

3

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

OUTPUT

MARK I

NORMAL

MARK I
THICK

MK II C

+

MK
IV

EXTREME

EQ ON

O

EQ FS

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

3

CH 3

NORMAL

BRIGHT

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

tHe CHannelS: (Continued)

CHANNEL 2:

This “Crossover” Channel contains both the lowest gain of the high gain Modes (EDGE) and one of the highest broad-spectrum gain

Modes (MARK I). Channel 2 alone contains more types of sounds than many complete amplifiers and
can be assigned virtually any task.

EDGE is the lowest gain Mode in Channel 2 and is EQ’d to be stripped, urgent and fast. Low end is
tucked up higher and reduced slightly to increase dynamic response and increase attack speed. Works
extremely well for classic Rock broken-up chording sounds in the medium GAIN range. GAIN set high

produces articulate, biting single note sounds.

CRUNCH is the medium gain Mode and is filled-in and rounded-out with added low-mid gain and more bass at lower frequencies. It
produces a smoother sound that is still tight and fast, but creates a wider footprint than EDGE. Dynamic response is still quick and
accurate, but the added gain introduces the first hint of natural tube compression. CRUNCH also works equally well for both rhythmic
chording and single note solo sounds that are overdriven, but not too saturated.

MARK I is the highest gain Mode in Channel 2 - equal in gain to any Mode in Channel 3 - and is behind the reason for not calling
Channel 2 simply a “Rhythm” channel. This is the singing, soaring, roaring voice that put MESA on the map when it burst on the
scene in 1970 in the little Boogie 1x12 combo. Increased gain in the entire spectrum creates a thick, rich wall of harmonic overdrive
that produces maximum sustain and saturation. The MARK I sound is known for it’s huge low end and girth that can fatten single note
sounds and create a voice that can not just carry, but propel a melody. This wall of gain can be shaped, not only to enhance single note
sounds, it can be stripped back to create purring lower gain chording and Blues sounds as well. The higher GAIN settings produce
amazing single note textures or, with the BASS and MID set low and the EQ kicked in, crushing heavy chord sounds.

MARK I : NORMAL / THICK

This two position switch re-voices the Treble frequencies to be either NORMAL (switch up) - higher and more sparkling or THICK

(switch down) – lower and fatter in the upper midrange. This switch is active only in the MARK I Mode and does not
affect EDGE or CRUNCH. Use NORMAL for lower gain chording and Blues work or anytime you want sweet top end
and harmonic openness. Use THICK for added gain and girth to fill-out single note sounds and make high gain rhythm
sounds grind harder. You can also think of NORMAL as being more “black face” era, and THICK voiced to more of a
British amp vibe.

PAGE 12

OUTPUT

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

3

CH 3

NORMAL

BRIGHT

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

OUTPUT

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

3

2

1

3

2

1

CH 3

NORMAL

BRIGHT

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

tHe CHannelS: (Continued)

CHANNEL 3:

This Channel is the overall highest gain in the MARK V and is dedicated to creating the best high gain sounds from the fabled MARK II-C+

and the MARK IV. Though the entire channel is aimed at high gain sounds, many expressive and dynamic me­dium to low-gain sounds can be found here with the GAIN control set lower (below 12:30). Again, this channel
defies classification as to style and is extremely versatile for both low and high gain, chording and single note
sounds.

MARK II C+ is exactly that. This Mode is a faithful – down to the last detail – recreation 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
20 years, these sounds remain at the forefront of Rock. 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 music.

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
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. It’s a different flavor of fatness as compared to Channel 2’s MARK I Mode, as here the midrange is voiced higher and
stays tighter. Because of this characteristic the graphic EQ does an amazing job of shaping this sound into whatever you want it to be. The
EQ doesn’t have to compete with the increased low end early in the preamp of the MARK I Mode and can be used to dial in some incredibly
big sounds that won’t get flubby.

EXTREME is exactly what it sounds like…extreme! This Mode also takes it’s architecture from the MARK IV, but is voiced almost opposite of
the MK IV Mode in this Channel. Forward, aggressive, tight and fast are it’s signature and it is the highest gain and loudest of the MARK V’s
nine Modes. You will experience a substantial increase in volume when selecting EXTREME from either of the other two modes in Channel
3… and this is after we padded it all we could without affecting the Tone.
Use this mode when you want crushing impact and stop-on-a-dime dynamics. EXTREME is most suited for heavy styles where maximum
gain and lightning fast attack are the order of the day.

NOTE: Increased sensitivity in the power section in the EXTREME Mode causes more background noise because the power amp and driver
are “listening harder”. This is normal and no cause for alarm.

CHANNEL 3 : BRIGHT / NORMAL

This two-position switch determines the amount of upper harmonics present in the sound of all 3 Modes in Channel 3. Some sounds bring
forward the action of this switch more than others, depending on the amount of top end in the sound to begin with, but it adds or reduces
brightness at its location in the signal path in all Modes of this Channel. For example; you will hear its action more in the MK II C+ Mode than

you will in the MK IV (FAT) Mode - because the high frequencies are more rolled off and recessive in the MK IV Mode and
therefore there are less of these frequencies present for the BRIGHT switch to bring forward.

In the BRIGHT position (switch down) the sound will be infused with an upper harmonic halo around the note(s). This added top
end becomes more apparent as the GAIN is increased, especially in the MK II C+ and EXTREME Modes where the BRIGHT

circuit has more highs to work with. The BRIGHT position is great for adding harmonic grind to high gain chording sounds in
these two Modes. It lets these highs pass at a specific earlier stage in the preamp so that the PRESENCE and GRAPHIC EQ, can be used
to blend and shape them down the line.
In the NORMAL position (switch up) this region of upper harmonics is rolled off, creating a darker, warmer blend that works well for single note
soloing. The NORMAL position is great for adding a feeling of girth and fatness in low gain sounds and removes unwanted sizzle and buzz
that can result from low output pickups in high gain settings.

PAGE 13

tHe CHannelS: (Continued)

NOTE FROM THE AUTHOR: Douglas West A.K.A Tone Boy

Randy wanted me to give this bit of info to you personally, even though it felt a bit funny to write “I” as opposed to “we”, so that my
personal experience could validate the source.

From 1982-1991 I was the person who tested every finished amplifier here at MESA - along with my other duties in R&D, Customer
Service and writing Owner’s Manuals. I worked side by side with Randy (playing guitar and asking for more Tone and features) on
the revision of the MARK II B that would eventually become the MARK II C+… as well as every amp since. During that time is when
I was affectionately given the nickname Tone Boy for my relentless pursuit of a certain attack/morphing-harmonic characteristic I was
hearing in my head. I was driving Randy crazy then - and I must take the time here and now to give him my deepest thanks and
utmost respect for listening to my ranting and raving. He didn’t even play guitar - but he heard me - and had the belief in this quality I
described just as deeply as I did. And even better - he found a way to deliver it! From myself, and all of us guitarists who have made
this sound our own…Thank You!

Anyway, as to how this affects you as a MARK V owner, there is some inside info you need to know to get the most out of Channel

3. This especially applies to you MARK II C+ and MARK IV owners who will be looking for your old amps sound in this Channel and
probably even be comparing the MARK V side by side to your II C+ or IV.

Back when I was testing II C+’s every day in the burn-in room, I always thought the non-graphic amps had a certain attack and purity
to the sound that the amps that had Graphic EQ on them just didn’t have. There was an urgency and bold punch to the sound…they
seemed tighter and more cohesive. Now granted, we made far more amps with the on-board EQ than without…probably 70% had the
EQ, but not many people had the opportunity to compare day-in and day-out as I did. The EQ model had the shaping advantage…
no doubt about it, and certainly all the sounds that II C+ are famous for were created with the EQ being an integral part of that sound,
but when it came to the straight sound – no EQ – the non-graph model always got to me with it’s speed and authority.

So it was that I came to be the obsessive/compulsive owner of no less than 8 of the II C+ Simul-Class™, Reverb (non-graphic) heads.
I hand picked these as being the best sounding amps - for me - out of the thousands of II C+ we made. Out of these eight amps I
immediately found my favorite - which I dubbed “His Highness the C-ness” and which I used as a reference model to have our Chief
Tech and Archival Guru Michael Bendinelli, copy exactly on the other 7 amps. Everything was measured and scrutinized (pot values,
resistors, caps, transformers swapped, etc.) and duplicated, and in the end… all 8 sounded alike. Regardless, His Highness was my
golden reference for MARK II C+ Tone and our R&D reference amp for many MARK Series amps to follow, including the MARK IV.

Over the next two decades I found the need to part with some of these magic amps for studio gear and such and always I gave my
close friends first crack at these – but His Highness remains to this day a mysterious, sweet-singing, fire-breathing beast of an amp.

So naturally when it came time to do the Channel 3 sounds of the MARK V, we went to the Oracle – His Highness The C-ness - and
asked permission to pay our respects to His Golden Tone…He granted, and the work began.

In our endless comparisons of many original II C+’s - both EQ and non-EQ samples - alongside this golden reference, we discovered
that I wasn’t just Tone-dreaming. There was actually a difference between the EQ model and those non-EQ models. It all came
down to a coupling capacitor at the end of the EQ circuit that feeds the driver. In the EQ model, it was a great big cap that let a lot
of sub-low pass, slowing down the sound and making it fatter. In my amp - a non-EQ version - this cap was smaller and didn’t let as
much sub-low through - which speeds up the sound and makes everything tighter and more urgent. There it was, a simple part…but
it made all the difference in the time domain.

Yet there were so many more of these slower, fatter sounding EQ versions out in the world… that many more people were used to

PAGE 14

tHe CHannelS: (Continued)

hearing as their reference. It would not do well to set the MARK V permanently to this faster, tighter way. Too many players would
have a tough time adjusting and when they compared the two amps side by side, the V would sound faster and tighter yes, but also
stripped of sub-low and therefore maybe not as fat in comparison to their trusty II C+ Graphic model or MARK IV - which also had the
bigger coupling cap. What to do at the crossroads? What we do is take more time… and go down both roads.

So in the MARK V we gave you both fast and fat.

The II C+ Mode in Channel 3 uses this smaller coupling cap to deliver the tightest attack and fastest response in the time domain. In
addition you get the bonus of having this Mode work incredibly well with the EQ, because the lack of sub-low at the end of the preamp
means you can add more low frequencies with the EQ before the sound gets flubby. So all you II-C and MARK IV guys might like this
characteristic even better. You can get high gain sounds with the EQ even tighter than ever before!

The MK IV and EXTREME Modes utilize the bigger coupling cap to add sub-low and slow down the attack for a bigger, fuller slow­hand feel that is absolutely huge. You will find that you have to be a little more careful with the 80 and 240Hz Sliders when dialing in
low end with the EQ because more low end happens earlier, but the sound is definitely bigger.

So if you want it tight, urgent feeling with the fastest attack and maximum focus, use the MK IIC+ Mode. If you want the fattest, warm­est, biggest sound and don’t need the super fast response, use the MK IV and EXTREME Modes.

Oh, and by the way…Mission Accomplished! The Oracle, His Highness The C-ness, now shares the Throne Of II-C Tone with the
MARK V. Of course the MARK V rules in so many other sonic Kingdoms that it has it all over the II-C for all around diversity of
sounds and incredible gig-ability.

NOTE: II-C+ and MARK IV OWNERS

If you do end up doing a side by side with a II-C+ for the LEAD Mode, you must use the II-C+ and MARK V set like this for a fair
comparison:

SET II-C+ As Follows:

VOLUME (Far Left) control Pulled (Bright On) and set to Approx. 7 ¾. (This stage in the MARK V is set to a sweet spot we found
from measuring many amps and control deleted).
LEAD DRIVE Control Pulled and set to desired setting
All Tone Controls set by ear as close as possible (we measure each pot and set both exactly with an ohm meter).
PRESENCE set to desired setting. (0 or 10 is the most fair for comparisons sake and removes any pot variance).
GRAPHIC EQ Off (Bypassed)

SET MARK V As Follows:

GAIN control set by ear and relative “clock face” setting to II-C LEAD DRIVE.
Tone Controls set by ear and relative “clock face” setting as II-C Tone Controls. (Remember that II-C BASS control is in the 2nd posi­tion - MID is 3rd on II-C whereas MARK V is TREBLE, MID, BASS).
Channel 3 BRIGHT switch in the BRIGHT (switch down) position.
Rear Panel Channel 3 TRIODE / PENTODE switch set to TRIODE (switch down).
Rear Panel EFX LOOP switch set to ACTIVE (switch up).

PAGE 15

tHe CHannelS: (Continued)

CAUTION: The EXTREME Mode is LOUD in both these amplifiers…Use Care and Zero out the OUTPUT Level Controls before
beginning this comparison

SET MARK IV As Follows:

Channel 3 (LEAD)
LEAD GAIN (FAR LEFT) Pulled and set to 7 ¾
LEAD DRIVE Pulled and set as desired
Channel 3 (LEAD) Tone Controls set as desired.
Pull All Controls (unless comparing EXTREME - then leave LEAD PRESENCE Pushed In = EXTREME)
PRESENCE set as desired (0 or 10 is most fair and removes pot variance)
Rear Panel TRIODE / PENTODE switch set to PENTODE

Set MARK V As Follows:

Channel 3 set to MK IV or EXTREME Mode (Make sure set the same as MARK IV)
GAIN set to match relative “clock face” setting of numeric LEAD DRIVE setting on MARK IV.
Channel 3 Tone Controls set to match relative “clock face” settings on Mark IV.
Channel 3 BRIGHT / NORMAL switch set to BRIGHT (switch down).
Channel 3 PRESENCE set to relative setting on MARK IV.
Rear Panel TRIODE / PENTODE switch set to PENTODE (switch up).
Rear Panel EFX LOOP switch set to ACTIVE (switch up).

You cannot hear the MK II C+ Mode in the MARK V’s response in an older MARK Series model because the coupling cap at the
end of the EQ in those amps is simply too big and is adding too much slow-lows to be a fair comparison.

NOTE: These comparisons are as close as possible regarding the setting and configuration of the circuits. When doing these types
of tests it is important to take into account that the power tubes, preamp tubes, transformers and even the caps and resistors may be
different depending on availability at the time of construction.

PAGE 16

frOnt panel: MO D e S

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

EQ ON

O

EQ FS

MARK I
NORMAL

CH 1

NORMAL

MARK I

THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

2

3

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

GAIN MASTER PRESENCE GAIN MASTER PRESENCE GAIN MASTER PRESENCE

TREBLE MID BASS TREBLE MID BASS TREBLE MID BASS

OUTPUT

CLEAN

TWEED
EQ ON

O

EQ FS

10 W

45

EQ ON

O

EQ FS

MARK I

NORMAL

CH 1

NORMAL

MARK I
THICK

BOLD

10 W

45

MK II C

+

MK

IV

EXTREME

EQ ON

O

EQ FS

90 W 90 W 90 W

10 W

SLIDERS

PRESET

SLIDERS

PRESET

SLIDERS

PRESET
DEPTH

PRESET
DEPTH

SOLO

PULL MUTE

PRESET

80Hz 240 750 2200 6600

45

3

2

1

3

2

1

CH

CH

CH

1

2

3

FAT

CRUNCH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

STANDBY

ON

FULL

POWER

VARIAC
POWER

MUTE EQ FX

0

tH e MO D e S :

Now let’s take a look at the Modes individually to learn more about their applications and focus so that you can dedicate the Channels
to what best suits your needs.

CHANNEL 1:

This is the lowest gain of the three Channels in the MARK V and will cover all your needs for clean rhythm and solo styles as well

as and slightly driven chording sounds. As with the Modes in each of the Channels we start with the
slimmed down (skinnier), tighter voice of CLEAN and move up the girth scale to FAT and finally to the
slightly higher mid-gain of TWEED.

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
more 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 45 and 10 watt power modes with its’ well balanced, more stripped nature.

FAT stands in sharp contrast to this with a big breathy bottom that extends down into the sub-low region and this adds air to the entire
spectrum as the top end gets more bubbly and spacial. This sound pays tribute to the best of the black face inspired sounds and the
circuit relies heavily on architecture from the INPUT 2 of the original MARK I and our popular MARK V CLEAN Mode. 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 45 or 10 watt power mode.

TWEED adds a boost in the mids and rolls back a little top end to create a sound that punches through a mix with mid authority and
clips with a more rounded vocal quality. TWEED works great for lower gain crunch rhythm parts as well and you can add a healthy
dose of top end cut with the PRESENCE control because there is less upper harmonics to get hashy or buzzy.

CHANNEL 1 VOICE SWITCH - CHANNEL GLOBAL:

NORMAL / BOLD:

treble region. NORMAL provides a balanced smooth response that shines for both shimmering sweet clean sounds and creamy
soft-clip tones as the modes are driven harder with the GAIN control. No particular frequencies stick out in this position which cre-

adopt the added attack and turn it into stinging aggression. Be sure to work with the TREBLE, MID and PRESENCE in the BOLD
setting to fine tune these regions and optimize both the sound and the feel.

This switch works globally in Channel 1 and offers two choices in voicing the mids and upper mids / lower

ates a perfect base for rhythm work and makes NORMAL respond very well to further embellishment with either the
Graphic EQ or the PRESET Contour.

BOLD punches through with a pronounced bump in these mid and upper mid/ low treble frequencies that will allow you
to cut through a dense mix and be heard. It also gives the impression of increased power and headroom as cleans
sounds fly out of the speakers with immediacy and authority. Likewise overdriven sounds, especially in TWEED, willingly

PAGE 17