Mesa Boogie Maverick User Manual
M
ESA
B
OOGIE
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
Hello from the Tone Farm...
f
f
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
amily...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
ine 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.
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
PERMANENT HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before
removing chassis.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding
conforms with local standards.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
TABLE OF CONTENTS
Page #
Precautions
FRONT PANEL Description and Usage
Volume
Treble
Mid
Bass
Reverb
Master
Output Level
Toggle Switches
Power
REAR PANEL Description and Usage
Fuse and Ground Select
0
1
2
3
3
3
4
4
4
4
4
5
5
Footswitch / Reverb
Rectifier
Send & Return
FX Mix
Slaving
Rhythm Voice
Channel Select
Speaker (impedance matching)
Factory Sample Settings & Personal Settings
Tube Maintenance
Tech Talk, an article by Randall Smith, President of Mesa/Boogie
Maverick Parts Sheet
5
6
6
6
7
7
7
7
8 & 9
10 & 11
12,13 & 14
15
Operating Instructions
Overview:
Your MAVERICK amplifier was designed to deliver maximum performance in a format based on simplicity. Its easy to dial nature
allows each of the two channels to deliver a wide range of sounds in both clean and overdrive styles. The MAVERICK uses four
EL84 power tubes running Pure Class A and a 5AR4 Rectifier tube to fuel its healthy thirty-five watt power section. We are pleased by
its surprising headroom, yet truly musical “clipability” when pushed. The MAVERICK’S pre-amp was no afterthought as you may
have deduced by the six 12AX7s tucked snugly away under the swing away tube clamp. Two separate sets of tubes are used to
accomplish the Rhythm and Lead channels. It’s really like having two separate amplifiers built into one chassis. Ultimate flexibility is
achieved by providing two complete sets of Tone and Master controls. Two different sounds can be switched between without compromising tone or levels.
Looking to the Rear Panel assures that all your interfacing needs are covered. A parallel Effects Loop with a Mix control provides tone
insurance for even those questionable effects. To use the MAVERICK in larger rack systems, or to interface to other power sections, the Slave Jack and Level Control is a welcome feature. Three speaker jacks (one 8 ohm, and two 4 ohm) are provided to ensure
the proper impedance match to many types of speaker enclosures. The Reverb can also be footswitched in or out.
As you can see, the MAVERICK provides all the features any demanding pro could need and at the same time remains simple to
operate.
FRONT VIEW MAVERICK
INPUT
FOOT
SWITCH
VOLUME
REAR VIEW
1A
FUSE
2A SB
A OFF B
GROUND
VACUUM
TUBE
MAVERICK
REV. FT SWITCH
(NORMAL)
TREBLE MID BASS REVERB
SOLID
STATE
(HI PWR)
RECTIFIER
SEND
RETURN
FX LOOP
0%%1
FX MIX
ON
ON
MASTER
BRIGHT RHYTHM
VOICE
RHYTHM
FAT
POWERSTANDBY
LEAD
4 OHM
SELECT
CHAN.
OUTPUT
LEVEL
C
LASS
A P
OWER
00
MESA BOOGIE LTD.
HANDBUILT IN PETALUMA, CA.
8 OHM
PURE CLASS A POWER
SLAVE
SPEAKERS
4 OHM
PAGE 1
FRONT PANEL:
First familiarize yourself with the layout of the Front Panel and locate the LEAD/RHYTHM switch on the rear right side of the chassis.
This switch allows you to select either the top (RHYTHM) channel or the (LEAD) channel. If you don’t have the RHYTHM/LEAD
footswitch connected, this switch will activate the channel switching function. Before we get too specific about each control, let’s
audition the two channels with a basic clean setting in the RHYTHM channel and a medium gain overdriven sound in the LEAD
channel.
POWER-UP:
Connect your favorite guitar to the instrument input jack. Turn the POWER switch “ON” while leaving the STANDBY switch set to
“STANDBY”. It’s 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. Next, set the controls per this example below:
INPUT
FOOT
SWITCH
VOLUME
TREBLE MID BASS REVERB
MASTER
OUTPUT
LEVEL
PURE CLASS A POWER
ON
ON
POWERSTANDBY
Flip the STANDBY Switch to the ON position and listen to the two channels using either the footswitch or the Channel Select toggle
switch found on the Rear Panel. Again, these are merely examples of the two channels. Experimentation leads to finding many
different sounds in each channel, and understanding the controls and the way they interact can make this much easier and more fun.
Now that you have heard the MAVERICKS’S two channels, let’s move on to understanding the controls and their interactive roles
in achieving the sounds that you want to hear.
CONTROLS:
VOLUME: (GAIN)
This is by far the most powerful control in each channel. It not only determines the overall Gain amount, shape and sensitivity of the
channel...but it is also a powerful Tone control. Generally speaking, whatever is dialed here ultimately determines the channels
personality. Set low, it allows cleaner, brighter sounds with enhanced dynamic response, especially
INPUT
FOOT
SWITCH
VOLUME
moderately, especially in the LEAD channel...for example, somewhere between
control somewhere between
occuring, while at the same time making the two channels easier to balance in volume level and effects send strength.
in the higher frequencies. Set high the whole personality of the channel becomes darker, fatter and
more overdriven. In the MAVERICK we worked hard to make sure the entire range of Gain available
is usable and more importantly, musical.
Don’t think for a moment that this simple one knob layout limits you as to the amount and texture of gain.
Long neurotic hours were spent to ensure the ranges of gain were stylistically accurate. It’s probably a
good time to mention that most of the great sounds can be found by by setting the VOLUME control
thru . In the RHYTHM channel, try setting this
thru . Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever
PAGE 2
FRONT PANEL (Continued)
TREBLE:
BASS
As with most guitar amplifiers, the TREBLE control is the strongest of the three rotary tone controls. Its setting on the MAVERICK
determines the blend and strength of the MIDDLE and BASS controls. Set high, it is the dominant control, mini-control, minimiz-
ing the amount of MID and BASS that would be possible in the mix. Set low, the TREBLE
INPUT
becomes the recessive control and a warmer, darker blend is produced. Dial with care. Subtle
tweaking of this control tends to produce the best results.
FOOT
SWITCH
MIDRANGE:
VOLUME TREBLE
Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost. In the MAVERICK a third dirty rhythm
sound was made possible by the inclusion of the RHYTHM CHANNEL’S dual purpose MID Control. From
is adjusted to act as a very effective MID control. As you increase the MID to
INPUT
FOOT
SWITCH
VOLUME TREBLE MID
above, you will hear the lower Mids getting more pronounced and fatter.
At about
the MID leaves behind the old notion of being a tone control and becomes a truly usuable gain control. This upper range
RHYTHM channel’s VOLUME (Gain) control for all kinds of higher gain rhythm sounds.
to about the taper
and
is a smokin’ addition to the
Try the MIDRANGE control set high and the VOLUME (Gain) control at about
for a cool blues solo sound. If this still isn’t crazy enough for you...Max the VOLUME
(Gain) and TREBLE controls and plug into a 4x12 with some Celestion Vintage 30’s or
25’s. This should be sufficently grinding for all you crunch fiends. As you can see, the
versatility that this dual purpose MID control lends to the RHYTHM channel greatly expands its usefulness as both a clean and
overdrive channel. The LEAD channel uses a normal (non-boost) MIDRANGE control as there’s no need for added gain. In other
words, what you find in the top channel’s MIDRANGE control from
through is spread out across the entire range of the control
in the bottom channel.
NOTE: The lower region of the MID control determines midrange punch and boldness in lower gain sounds and a smooth vocal blend
in high gain sounds. It can be very effective acting as a “cut through the band control” in certain situations. Dial to taste, remembering
that the setting of the TREBLE control greatly effects this control’s strength.
:
This control blends in the lower frequencies, and its effectiveness, again, depends on the setting of the TREBLE control. It should be
set with moderation, as extreme settings in either low or high directions can produce an unbalanced tone. Be “especially”especially
careful in higher VOLUME settings of either channel. Too much Bass will cause a flabby unfocused sound that can’t be dialed out
because excessive Bass has been introduced to the pre-amp in the early stages.
INPUT
FOOT
SWITCH
VOLUME TREBLE MID BASS
Try setting the BASS control to
and
or below when dialing up high gain overdriven sounds in this channel.
for clean sounds in the RHYTHM channel
In the LEAD channel, try setting the BASS control somewhere between
.
and
These settings will vary with the amount of VOLUME and TREBLE you have
dialed up.
PAGE 3
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