Mesa-Boogie Nomad Amplifier 45, Nomad Amplifier 55, Nomad Amplifier 100 User Manual
Owner's Manua
l
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
Greetings from the Home of Tone
and Welcome to the Mesa/Boogie Family!
We would like to congratulate you on the purchase of your new Nomad Amplifier. If you
have not yet realized the power and versatility of this instrument, we hope this manual
will provide an enjoyable tour through the many stylistic regions this exciting platform
was born to roam. Hopefully after getting to know the channels and their modes and how
best to apply them to your music, the Nomad will lead you to the yet unexplored regions
of your own creativity and leave you with the map to return confidently time and again.
Inspired by the ancient peoples who left the security and comfort of their villages and set
out in search of answers and a deeper meaning to life, these amplifiers are vehicles of
exploration. So it is in tribute to these timeless bands of spiritual wanderers...we have
named these amps Nomads. And like those for which they are named, you will find them
at home in any musical land.
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 filled out by the store at which it was
purchased and return to Mesa/Boogie.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANENT HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power
before removing chassis.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding conforms
with local standards.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
Table of Contents
Precautions
Overview & Instant Gratification ________________________________________________________ 1 - 4
Tips for the Desert ___________________________________________________________________ 4 - 5
FRONT PANEL CONTROLS & SWITCHES
Gain, Master and Presence ____________________________________________________________ 5 - 7
Treble, Middle and Bass _______________________________________________________________ 7 - 9
CHANNEL MODES:
Channel 1 - NORMAL & PUSHED ______________________________________________________ 9 - 10
Channel 2 - NORMAL & MODERN _________________________________________________________10
Channel 3 - NORMAL & VINTAGE_________________________________________________________ 10
Graphic EQ & Sample Settings ( Nomad 100 Only ) __________________________________________11
Output & Solo Level Controls ____________________________________________________________12
Toggle Switches - HI VOLTS and AC MAINS ____________________________________________ 12 - 13
REAR PANEL CONTROL, SWITCHES & JACKS
Footswitch Connect, Fuse & Rotary Channel Select _________________________________________14
Recording Out, Speaker On / Speaker Mute and Bias Switch __________________________________15
FX Mix - Send & Return _________________________________________________________________ 16
Power Amp Voicing - Nomad 45 Only & 50 / 100 Watt Switch Nomad 100 Only ___________________ 17
Reverb _______________________________________________________________________________17
Speakers _____________________________________________________________________________17
Slave_________________________________________________________________________________18
Sample Settings ___________________________________________________________________ 19 - 25
Tube Description & Task Charts ______________________________________________________ 26 - 28
Tube Noise & Microphonics _____________________________________________________________29
Diagnosing Pre-Amp Tube Problems ______________________________________________________30
Bias Adjustment: a feature article by Randall Smith _______________________________________ 31 - 33
Speaker Impedance & Possible Hook-Up Schemes - Amplifier to Speaker Cabs ______________ 34 - 39
Triodes, Pentodes & Irishmen: a feature article on the workings of tubes _____________________ 40 - 42
Parts Sheets ______________________________________________________________________ 43 - 45
A L L T U B E A M P L I F I E R
Overview:
Nomad amplifiers are available in many configurations in terms of power / speaker combinations, as well as “head only” formats. All
Nomad amplifiers share basically the same pre-amp and since most Mesa/Boogies are available in many choices as to power and
speakers, for all practical purposes, Nomad refers to this pre-amp.
Pre-Amp:
The Nomad pre-amp is comprised of three discreet Channels which may be footswitched between. Each of these channels
offers two manually selectable Modes of operation. In basic terms, each of these modes offer a choice between a lower gain, slightly tamer
voice and a wilder, gainier personality . This is an extreme simplification of their individual character however , as they all move easily across
a wide range of sounds, prompting us not to limit them with the usual Rhythm and Lead nomenclature. Thus you will find them named and
referred to as Channels 1, 2 and 3.
NOMAD Showing all 3 Channels
BASS
MODERN
(NORMAL)
VINTAGE
INPUT
CH1
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
CLEAN
(NORMAL)
PUSHED
CH2
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
VINTAGE
(NORMAL)
MODERN
CH3
GAIN
TREBLE
MASTER
MID
PRESENCE
The Modes have been named in each Channel for ease of comprehension and identification - especially for the first time pilot - with their
most common application labeled “Normal”. (Found with the mini-toggle in the “up” position.) When all three channels are “normalled” the
player is presented with one low-gain clean (Channel 1), one medium-gain, turbo vintage (Channel 2) and one high-gain modern channel
(Channel 3). In this way a great slice of the amplifiers many flavors can be sampled quickly and instantly from the Footcontroller.
For the more adventurous, the Channels may be switched out of their NORMAL Modes and three entirely new channels may be explored.
NOMAD Showing all 3 Channels (partial views)
MODERN
(NORMAL)
VINTAGE
(Switch UP
to NORMAL
Position)
PRESENCE
BASS
CHANNEL 1
CLEAN
(NORMAL)
PUSHED
(Switch UP to
NORMAL Position)
PRESENCE
BASS
CHANNEL 2
VINTAGE
(NORMAL)
MODERN
PAG E 1
(Switch UP to
NORMAL Position)
PRESENCE
BASS
CHANNEL 3
Overview:
(Continued)
Channel 1 switched to PUSHED reveals a much gainier region, perfect for all types of dirty chording or can be maxed for urgent high gain
soloing.
Channel 2 may be switched down to MODERN to unleash a tighter, meaner nature that works great for crunch rhythm or searing solo
sounds.
And Channel 3 can be switched down to VINTAGE where a more liquid, forgiving nature appears that when set low, can double as an
amazing clean mode.
After the initial gratification of these classic sounds has left most players amazed, the years of discovery begin, for while these sounds are
wonderful, they are, but a grain of sand in the vast untracked wilderness Nomad wanders.
POWER:
While all Nomad pre-amps are the same, this by no means limits players as to a choice of a Nomad which will work best for
their individual style or needs. By combining this power-packed, comprehensive collection of discreet channels with three different and
distinct power section choices, there is a Nomad for any frontier.
Models: 45, 55 & 100
FRONT VIEW Nomad 45
CH1
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
INPUT
REAR VIEW Nomad 45
CH2 CH3
POWER FUSE
120V
50-60 Hz
2A
FOOTSWITCH
SOCKET
BELOW
CH1
2.5A
SLO
BLO
RECORDING
FTSW
SPKR ON
SPKR MUTE
FUSE
2.5 A SB
SEND RETURN
CLEAN
(NORMAL)
PUSHED
CH2
GAIN
TREBLE
10% 100%
FX MIX
MASTER
PRESENCE
MID
NOMAD ALL TUBE AMPLIFIER
WARNING
:
To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
BASS
VINTAGE
(NORMAL)
MODERN
GAIN
CH3
TREBLE
HANDBUILT IN PETALUMA, CA
MASTER
WARNING
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
MID
:
To reduce risk of fire or electric shock,
servicing to qualified personnel.
PRESENCE
BASS
MODERN
(NORMAL)
VINTAGE
PWR AMP
NORMAL
EXTREME
8 OHM 4 OHM
COMBO SPKR
OUTPUT
CH3 CH2 CH1
SOLO
REVERB
HI VOLTSONAC MAINS
4 OHM
SPKR
SPKR
USE WITH TWO 8 OHM SPKR
45
DYNA-WATT
REVERB
ON
EL-84
SLAVE
TO POWER AMP
The NOMAD 45:
boasts forty-five watts of EL-84 magic with its harmonically rich layers of bubbly, bouncy tone and patented DynaWatt Power that enables this bantam weight amp to act like twice its rated wattage. This Nomad exists on two chassis’, the original
Boogie short chassis that is available as a 1x12 combo or as a short head. The littlest Nomad definitely, but by no means the understudy,
this compact dynamo may have the biggest personality of them all. The wider chassis accommodates a lightweight 2x12 combo, a 4x10
combo and a wider head for use with larger speaker enclosures. In these formats the Nomad 45 is unbelievably huge sounding and is
capable of covering much larger venues than would normally be associated with amps of this power rating.
PAG E 2
Overview:
(Continued)
The NOMAD 55:
represents the deal of the century with its robust 55 watts produced by two 6L6 pentodes. With ample headroom for
clean styles and a slightly brighter, more aggressive nature than its bigger brother the Nomad 100, the 55 lives in the region many players
consider the perfect wattage arena. This Nomad is also available in two chassis sizes so it can be configured to taste and need. A
widebody 1x12 combo optimizes the characteristics of a wider cabinet and a rear mounted speaker to produce a bigger, breathier sound
that is more vintage in nature. This chassis size also produces a great “head only” package. The 55 is also available as a mid-weight 2x12
or 4x10 combo with a wide head also possible in this chassis size.
FRONT PANEL Nomad 55
HI VOLTSONAC MAINS
ON
INPUT
CH1
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
CLEAN
(NORMAL)
PUSHED
VINTAGE
CH2
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
(NORMAL)
MODERN
GAIN
CH3
TREBLE
MASTER
MID
PRESENCE
BASS
MODERN
(NORMAL)
VINTAGE
OUTPUT
SOLO
REAR PANEL Nomad 55
POWER FUSE
120V
50-60 Hz
2A
FUSE
2.5 A SB
FOOTSWITCH
SOCKET BELOW
2.5A
SLO
BLO
CH 2 CH 3
CH 1
CAUTION !
SWITCH MUST MATCH TUBES
FTSW
6L6 BIAS EL34
SPKR ON
SPKR MUTE
RECORDING
10% 100%
FX MIX
SEND RETURN
NOMAD ALL TUBE AMPLIFIER
WARNING
:
To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
HANDBUILT IN PETALUMA, CA
WARNING
:
To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
8 OHM 4 OHM
COMBO SPKR
CH 3 CH 2 CH 1
REVERB
REVERB
4 OHM
SPKR
SPKR
USE WITH TWO 8 OHM SPKR
SLAVE
TO POWER AMP
The NOMAD 100:
is no doubt the ruling sultan of this band. With headroom for any situation and a richness of character that is only
found in 100 watt power sections, it is the obvious choice for those who find themselves in larger venues. An added bonus comes with the
Nomad 100 as well with the fitting of the on-board 5 band Graphic Equalizer. A long time Mesa/Boogie tradition, this powerful shaping
tool can either be footswitched in and out at will to enhance specific sounds - or engaged as a global shaping device to accommodate
certain rooms or playing situations.
The 100’s sturdy 4x6L6 harness is found on two different chassis sizes as well, and the choices are the same as that of the Nomad 55. A
widebody Nomad 100 1x12 combo or head, as well as 2x12 and 4x10 combos and a wide head for use with any of our closed or open back
4x12 cabinets producing a sound that is...yes, huge!
FRONT PANEL Nomad 100
HI VOLTSONAC MAINS
ON
INPUT
CH 1
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
CLEAN
(NORMAL)
PUSHED
VINTAGE
(NORMAL)
MODERN
CH 3
TREBLE
GAIN
MASTER
MID
CH 2
TREBLE
GAIN
MASTER
MID
PRESENCE
BASS
PRESENCE
BASS
MODERN
(NORMAL)
VINTAGE
OUTPUT
SOLO
80 240 750 2200 6600
PAG E 3
Overview:
(Continued)
REAR VIEW Nomad 100
FUSE
3 A SB
FOOTSWITCH
SOCKET
BELOW
CH2 CH3
CH1
SWITCH MUST MATCH TUBES
FTSW
6L6 BIAS EL34
SPKR ON
SPKR MUTE
RECORDING
CAUTION !
SEND RETURN
10% 100%
FX MIX
NOMAD ALL TUBE AMPLIFIER
WARNING
:
To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
HANDBUILT IN PETALUMA, CA
WARNING
:
To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
100 WATTS
50 WATTS
8 OHM 4 OHM
COMBO SPKR
CH3 CH2 CH1
REVERB
SPKR
USE WITH TWO 8 OHM SPKR
SPKR
REVERB
4 OHM
SLAVE
TO POWER AMP
No matter which of these many Nomad platforms you have chosen, the basic operation is the same and the experience playing them is
oo...fun and exhilarating. Before we get to specific Controls and Channels, here are some tips to get you playing and enjoying your Nomad
right away;
Tips for the Desert:
(1.) The REVERB Controls for all three Channels are located on the Rear Panel.
(2.) The Footcontroller connects to the chassis on the far left underside of the Rear Panel.
(3.) The Rear Panel Channel Select Rotary Must be set to Footswitch in order for the Footcontroller to call up the Channels and Functions.
The SOLO Control has no Effect on the signal until the Footcontroller is connected and Footswitch is selected on the Channel Select
Rotary.
(4.) The SOLO Control increases the volume from where the OUTPUT Control has been set.
(5.) The GAIN and TREBLE Controls are the most powerful controls in all the Channels. Use them with taste and remember that some of
the best sounds are found by using these two controls in their middle regions.
(6.) Extreme Volume Level Increases Occur when Ch. 1 & Ch. 2 mode switches are switched down to their alternate modes from
NORMAL to PUSHED and MODERN. Reduce Channel MASTER or OUTPUT Controls before selecting these modes !
(7.) Volume Level will drop when Ch.3 mode switch is switched down from NORMAL to the alternate VINTAGE mode. Compensate with
either Channel MASTER or OUTPUT Control.
(8.) When using the Effects Loop for external signal processing, the best tonal results will be obtained with the processors’ dry / wet mix
set to 100% and the FX Mix set as close to 10% as possible.
Hopefully these tips have saved you from any frustration and now that you’ve got everything connected, we have provided a few sample
settings that you might want to try in each channel, to more quickly familiarize you with the Nomad’s sonic possibilities.
These sounds and settings are by no means the only ones possible and as always, we encourage exploration and experimentation.
PAG E 4
Tips for the Desert:
Quick Demo Settings:
(Continued)
Channel 1 NORMAL
CH1
TREBLE
INPUT
GAIN
MASTER
MID
Channel 2 VINTAGE
CH 2
GAIN
TREBLE
MASTER
MID
Clean
CLEAN
(NORMAL)
PRESENCE
BASS
PUSHED
Purring Blues
VINTAGE
(NORMAL)
PRESENCE
BASS
MODERN
Channel 1 PUSHED
INPUT
CH1
GAIN
TREBLE
MASTER
MID
Channel 2 MODERN
CH 2
GAIN
TREBLE
MASTER
MID
Crunch
CLEAN
(NORMAL)
PRESENCE
BASS
PUSHED
Liquid Grind
VINTAGE
(NORMAL)
PRESENCE
BASS
MODERN
Channel 3 MODERN
MASTER
GAIN
CH 3
TREBLE
MID
Spank Blues
MODERN
(NORMAL)
PRESENCE
BASS
VINTAGE
Channel 3 VINTAGE
MASTER
GAIN
CH 3
TREBLE
MID
Violin Gain
MODERN
(NORMAL)
PRESENCE
BASS
VINTAGE
The Controls:
Before we get to each individual control and how they interact with each other, there is one thing they all have in common. They all have
“sweet spots”. These regions move around the clock face in accordance with several factors such as the style of sound you are dialing for,
pick-up height, pick-up strength, your individual picking technique and the type of speaker and cabinet your Nomad is driving.
To attain the best tone and performance from your amplifier , we recommend that you spend time learning the sweet spots of each control
and how they affect the function of the other controls. This way you will be able to dial virtually any sound you wish in any channel quickly
and accurately.
PAG E 5
The Controls:
(Continued)
GAIN :
This control adjusts the predominant gain stage in each channels’ circuit with the function and taper being optimized for each
individual channel. Remember that your Nomad is really three separate dual mode amplifiers built onto one chassis, so though each
channel looks identical, the GAIN Control for each channel comes in a different place and adjusts a
different point in that channels circuit.
Brightest
Most Balanced
Warmer
In most guitar amplifiers, and especially in all-tube circuits, the GAIN Control is the most powerful
control in the preamp. It shapes the overall style and character of the sound and is responsible for
whether the sound is clean, overdriven or anywhere in between. In your Nomad, the GAIN Control
is even more powerful. It not only determines the amount of drive, but also acts as an integral part of
the tone control string as well.
INPUT
CH1
GAIN
TREBLE
To simplify the GAIN Controls’ role in shaping the overall tone of the sound we will look at it in two
ways - 1; alone and 2; in conjunction with the tone controls.
1) By itself the GAIN Control has basically three tonal regions Low ( 7:00 - 11:00 ) provides the cleanest, least saturated sounds and in this region the sound will be brighter and contain more upper
harmonics lending a three dimensional character to the sound.
Middle ( 11:15 - 2:00 ) enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a fuller
bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in all three channels. This region contains
many of the Nomads’ best sounds...especially for soloing due to the crucial blend of an expressive attack combined with ample sustain.
High ( 2:15 - 5:00 ) saturates the signal and enhances low and low mid frequencies. While this region provides the maximum saturation
and therefor sustain, it also compresses and softens the attack characteristics. For this reason we suggest using this higher region of the
GAIN Control sparingly and only when maximum sustain is needed.
NOTE: Due to the Nomads’ extreme gain potential, the highest regions of the GAIN Control may possibly push the pre-amp tubes past
what they can handle, producing microphonic squealing. While we screen and test the tubes your amplifier was shipped with and the tubes
in your amp passed our rigourous test, we can’t predict how the tubes will respond over time exposed to extreme gain settings. Y our tubes
are warrantied for a period of 6 months under normal use, but you can save yourself the present and future inconvenience of having to deal
with annoying microphonic tube problems by simply using a little common sense...Don’t turn the Gain all the way up!
If you must for a specific part or at very low volumes, back down the TREBLE and PRESENCE Controls. Your Nomad was designed to
provide amazing gain and tone at less than extreme settings removing the need for you to crank everything all the way up. If you are not
able to achieve the sound you want at sensible settings on any or all of the controls, your problem may lie elsewhere in the signal chain,
i.e. pick-ups, cabinetry, processing etc. Keep in mind you can always call on one of our product specialist Monday through Thursday and
seek some advice should you find yourself struggling to get the sound you want.
2.) GAIN - In conjunction with the Tone Controls Basically, a simple rule applies...as the Gain is increased the Tone control string has less and less effect on the signal until at 5:00 the
signal is so saturated that you are getting mostly Gain and very little Tone. Again, this is the reason we suggest using the GAIN Control in
its middle region. Here the Tone control string is very active and provides maximum shaping power - allowing you to dial virtually any
sound you desire.
PAG E 6
The Controls:
(Continued)
MASTER :
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can see each
Channel is fitted with its own MASTER Control, enabling the three channels relative volumes to be matched regardless of their extremely
different sound styles and gain signatures. The MASTER Control makes possible
EASIEST TO BALANCE CHANNELS
MOST SENSIBLE RANGE
REASONABLE FX LOOP SIGNAL LEVELS
a wide range of sounds through its ability to use very low Gain sounds at high
volumes and conversly , high Gain sounds at low volumes and everywhere between.
Again, we suggest using the MASTER Control in its sensible ranges ( 9:00 - 2:00 ).
Here, the channels will be easier to match with each other and the Effects Loop will
see more reasonable signal levels.
NOTE: Because the MASTER Control creates the send to the Effects Loop, extreme settings will cause a large signal to be sent to the Loop for that Channel. Not
CH1
INPUT
PRESENCE :
GAIN
TREBLE
MASTER
only may this cause possible overloading of the processors Input stage, but will
make balancing the three channels’ Effect Send level difficult.
MID
This control regulates the amount of negative feedback in the power amp stage and affects mostly higher frequencies.
It acts independantly of the other rotary tone controls and is crucial
MOST BALANCED VOCAL QUALITY
in voicing the Channel. It is a powerful global tone control.
Lower PRESENCE Control settings darken and, in fact compress
the signal which works well to fatten single note solo sounds, giving
them girth and focus. Some of the best lead sounds in your Nomad
will find the PRESENCE Control in its lower regions, where a balanced, vocal response is achieved.
MASTER
MID
PRESENCE
BASS
INPUT
TREBLE :
CH1
GAIN
TREBLE
As in most tube guitar amplifiers, the TREBLE Control ( in all three channels of your Nomad ) is the most powerful of the
rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is first in the signal path of the tone controls - and
from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of the TREBLE Control
is very important for equal representation of the three frequency regions to appear at their re-
SWEET SPOT
spective controls. Like most of the controls on your Nomad, there is an optimum region of the
TREBLE Control where ample top end is mixed in and yet enough signal is still passed on to the
TREBLE
MIDDLE and BASS Controls.
CH1
As you might surmise, here is the sweet spot. There are definitely great sounds above and below
INPUT
this middle region ( 11:00 - 1:30 ), but the balance between the TREBLE Control and the other
two tone controls is compromised.
PAG E 7
The Controls:
(Continued)
TREBLE : (Continued)
The one place you may want to throw caution to the wind and set the TREBLE Control above this median
zone presents itself in Channel 1. In both modes ( Clean & Pushed ) the TREBLE Control can be used to dump extra gain into the mix. This
is especially effective in the PUSHED mode for crunch sounds. When doing so use the PRESENCE Control to roll off some of the more
than ample top end for a more compressed feel and fatter voice. As you might surmise, the BASS Controls’ effectiveness will be reduced,
so you may have to run a much higher setting than you are used to seeing to achieve a balance.
MID :
The MIDDLE Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as
that of the TREBLE Control, it plays an integral part in achieving any sound in your Nomad. It is capable of changing the feel dramatically
as it blends in a group of frequencies that tend to soften or stiffen the way a
CH1
GAIN
TREBLE
HELPS ADD PUNCH TO
WEAKER PICK-UPS
MID
sound feels to play.
Most players tend to lean in the direction of lower MIDDLE Control settings (
7:00 - 11:00 ) where a scoop in this region produces girth ( by letting the Bass
become a little more dominant ) and a lack of punch lends a more compressed,
INPUT
even feel to the strings and therefore less apparent resistance to the pick. As
the MIDDLE Control is increased, ( 11:30 - 1:30 ) the sound is rounded-out and
filled-in with a focused mid attack appearing rather quickly . As you would guess,
the feel starts to change - becoming more resistant. Above this region the
MIDDLE Control could be used to compensate for either weaker pick-ups or for
SCOOPED AND EASY TO PLAY
times when a specific deficiency is produced by either an extremely high setting
of other tone controls, or a physical anomaly in the room. While these MIDDLE Control settings ( 2:00 - 5:00 ) can introduce added gain
and create enhanced focus, the trade-off will be a stiffer, more forward, less compressed feel.
Channel 1 utilizes a different MIDDLE Control than that of the Channels 2 and 3 with a custom-designed taper and value. In its low
range ( below 12:00 ) it functions as a normal midrange control with a taper suited to blending fine increments of these frequencies. Most
players lean toward a fairly radical scoop ( 7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus
producing the signature sparkle and breath essential for a pristine clean sound.
As Channel 1’s MIDDLE Control is swept past 1:00, it quickly starts to add gain in these midrange frequencies adding cut and punch. As
the top end of the control is reached, ( 3:00 - 5:00 ) it becomes an additional gain control capable of taking both CLEAN and PUSHED
modes to extremes. Experiment with this cranked region in conjunction with extreme settings of the other tone controls to balance both
sound and feel. While this added flexibility may make Channel 1’s MIDDLE Control a little more tricky to learn at first, it will become quite
valuable as you start to realize the power of this super versatile channel.
BASS :
Last, but definitely not least in the string of tone controls we, come to the BASS Control. This control works similarly in all three
channels in that it determines the amount of low frequencies present in a sound. However, the actual frequencies and style of lows it mixes
in changes from channel to channel. Like the MIDDLE Control, it falls in line signal-wise after the TREBLE Control and the same scheme
applies. When the TREBLE Control is set high the effectiveness of
CH1
GAIN
TREBLE
MASTER
MID
VARIABLE ACCORDING
TO TREBLE & MID CONTROL
BASS
the BASS and MIDDLE Controls is reduced. If the TREBLE Control is set low these two controls become dominant.
For the most balanced sound and a balance of power between the
three rotary tone controls, try to use the TREBLE Control in its
INPUT
middle ranges. This scenario produces nearly equal representation of all the frequencies on the tone controls and provides a great
nuetral starting point for further tweaking.
PAG E 8
The Controls:
(Continued)
BASS: (
Continued)
The Bass frequencies are, as we mentioned, different in each channel and appear as follows:
CHANNEL 1: Enhanced low and sub-low regions provide warmth and most importantly, breath for clean sounds which produces a
bouncy, elastic feel and natural sounding fundamental, yet with plenty of air.
CHANNEL 2: Sub-low extension defines this channels bottom end character and produces the deepest sounds in your Nomad. This is
the fattest channel for single note work and chording will sound huge...especially when higher GAIN Control settings are applied. If you are
not careful with the BASS Control in this channel - it may spoil you and leave you with a good case of EQ overhang...leaving the other
channels sounding almost “thin” by comparison.
Also, don’t be surprised if at first, Channel 2 feels slower and a bit harder to steer. It can take a while for your picking technique to adjust
to pushing around a sound of this girth. Y ou will adjust and quickly find that these extra-low lows make for some unbelievable solo sounds.
CHANNEL 3: In this channel the opposite approach is taken and the emphasis is not on how low can you go, but rather how tight can you
get. By raising the low frequencies and focusing on how well they track - and stop after the note sounds, a totally different personality
emerges. This tracking characteristic adds bounce to both chording and single note styles and is essential for urgent high gain rock
sounds. Due to its higher, tighter nature this BASS Control may be set higher than that of the other two channels without the feel of
becoming slow or clumsy. In fact, this is the one control you can even run all the way up without worry.
NOTE: Do Not run the Bass all the way up in any channel when using the direct Recording Output ! Damage to the playback
monitors could occur. When using the direct Recording Output, start with the Bass set relatively low and set conservative ( safe ) input
levels at the console first. When levels are satisfactory you may then increase the BASS Control slowly and adjust levels as you go in
order to prevent damage to playback monitors.
Channel Modes:
As mentiond earlier, each of the Nomads’ three channels contain two different modes so that each channel may be configured for an array
of different sound styles. These opposing modes are selected by the mini-toggle switch located inside each channels borders. The upper
position of the toggle in each channel is labeled “NORMAL” and calls up the “primary” sound for that channel. This scheme allows for quick
demo tours through the three channels and provides the fastest understanding of the footswitchable possibilities with quickly identifiable
sounds. Once this configuration has been auditioned and the channels explored, the modes can be drastically modified by a simple flick
of the switch. As you will hear, these switches alter the voice of each channel radically as several different internal changes occur per
channel. How you choose to utilize these alternate sounds is up to you and experimentation can lead to some of the most versatile
footswitching you could find in any amplifier.
Channel 1 NORMAL / PUSHED
PRESENCE
BASS
(NORMAL)
PUSHED
INPUT
CH1
GAIN
TREBLE
MASTER
MID
CLEAN
also add gain and sustain to this sound ( reduce Presence to blend highs ), but you will probably want to run the BASS Control below 10:30
to avoid flubbiness and preserve a focused attack.
CLEAN / NORMAL: This is the lowest gain circuit of the Nomads six modes and is optimized for producing balanced pristine clean sounds. For the best understanding of how to
achieve a great sound in this mode, please refer back to the GAIN Control section of this
manual. However, a great place to start is 12:30 or so on the GAIN Control with more sparkle
available below this and more warmth apparent above...from there adjust according to your
guitars individual response.
Because of its more traditional architecture this mode also works extremely well for vintage
style drive sounds. By turning the gain all the way up, a beautiful old school solo sound is
possible...especially with neck single coil pick-ups. The TREBLE and MIDDLE Controls can
PAG E 9
Channel Modes: (Continued)
PUSHED: This mode is a radical departure from the sweet shimmering blend of the CLEAN / NORMAL modes low gain character. Huge
increases in gain early on in the first stages of the pre-amp produce one of the biggest differences between modes in the entire amplifier
and transforms what you thought to be a tame and gentle clean channel into a raging crunch machine. This incredible amount of gain also
creates one of the most expressive solo modes in your Nomad. Because there are less stages of gain for the signal to travel through and
the tone control network is tuned for the brighter nature of clean sounds, this mode responds quicker to your pick attack and has a more
urgent, snappy feel. Don’t overlook this mode for some of the Nomads’ best overdrive solo sounds.
Channel 2 NORMAL / MODERN
VINTAGE / NORMAL: The first of Nomads’ high gain lead channels was endowed with an
orange LED indicator not by accident. The warm glow reminded us of smoldering embers...a fire
burning warm with all the comforts of home. Upon first playing Channel 2’s VINT AGE/NORMAL
mode most players stop - grin - and say one word...FAT. This mode has been optimized to round
CH2
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
VINTAGE
(NORMAL)
MODERN
out single notes and enrich their character with creamy, warm drive. You will quickly discover
that this mode has no optimum setting as it presents the entire range of the control with amazing
balanced lead sounds. Set low ( Gain at 9:30 and below ), it doubles as a low gain chording or
blues sound that purrs with vintage authenticity . From there on up to 3:00, many dif ferent styles
of solo sounds are available that work great with either single coil or humbucking pick-ups and
no matter how you serve it up it’s always gonna be big... huge !
MODERN: This mode had its early beginnings in an idea that sprang to life in the late eighties and found its way on to our Dual Rectifier
Solo Head called Channel Cloning. Well, as usual we ended up going far beyond the original idea and now this mode is simply a more
aggressive, over the top, hardcore version of the already monsterous Channel 2 NORMAL mode. This sound is the hugest rock sound in
the Nomad and for all out girth, it tips the scales. The same stylistic ranges apply as those of the NORMAL mode, but the top end of the
GAIN Control unleashes the true beast within, and should be experienced with a hot humbucking pick-up to really appreciate its footprint.
NOTE: Reduce the MASTER Control when switching from VINTAGE NORMAL to MODERN as internal changes
in the circuit increase volume levels dramatically !
Channel 3 MODERN / VINTAGE
MODERN
CH 3
GAIN
TREBLE
MASTER
MID
PRESENCE
BASS
(NORMAL)
VINTAGE
MODERN / NORMAL: This mode is the hyper stallion in the Nomad camp. An enhanced
attack region and a brighter overall response combined with a slightly higher low end curve give
Channel 3’s NORMAL mode the edge when it comes to speed and agility. The nature of this
mode is the polar opposite of Channel 2’s languid, slowhand purr.
It bounces to life with the slightest of glances from the pick and can stop on a dime whether
maxed out or running stripped. Again, like Channel 2’s NORMAL, this mode handles low gain
single coil styles and high gain humbuck sounds with equal attitude... and we do mean attitude!
VINTAGE: This “slightly” detuned, warmer rendition of Channel 3’s NORMAL mode makes it
possible to use Channel 3 for some of the sounds you might like in Channel 2 and though the Bass frequencies are a little higher, they are
just as amazing. By offering a way for each channel to lean toward the other, many possible configurations appear and the footswitching
applications are expanded greatly.
You might wish to use Channel 2 NORMAL for a semi-clean rhythm mode and Channel 3 VINTAGE for a blues style solo sound. Conversely, you might need Channel 3 NORMAL to cover your high gain ( maybe Channel 1 PUSHED for lower gain ? ) crunch rhythm stuff
- and Channel 2 MODERN for a crazy, blistering solo sound. There are a myriad of ways to configure the Channels 2 & 3 and so many
great combinations of mode swapping that will make your footswitching allocations less confining, freeing you up to play your best.
PAGE 10
5 BAND GRAPHIC EQUALIZER :
( Nomad 100 Only )
If you have purchased the Nomad 100 you have probably already realized
that the bonus gift of the On-Board 5 Band Graphic Equalizer is well worth the omission of the beautiful, but stoic, Nomad logo. This long
time Boogie tradition is a powerful shaping tool and when added to the already
fully evolved Channels of the Nomad, any sound you can dream of is at your
fingertips. It may be assigned to the signal path globally or footswitched In and
Out at will.
The five wide-band sliders offer the full spectrum of frequencies in a guitarfriendly format that is infinately easier and faster to use than either narrowband graphic or parametric type equalizers. There is a more gentle blend be-
80 240 750 2200 6600
EQ
FTSW
HI VOLTSONAC MAINS
IN
OUTPUT
SOLO
EQ
ON
tween the regions and therefore less likelyhood of holes in the tone and response, resulting in a musically smart system of shaping guitar
sounds...especially overdrive sounds.
NOTE: When the EQ is switched out there will be a small amount ( 3% max. ) of its effect still on the signal. This small amount should
cause no problem and is considered normal. This is essential to achieve seamless footswitch operation.
Here are a few examples of how we have seen players utilize this powerful shaping device, with the classic “V” curve and its amazing
widening effect being the most popular for almost any style.
The fabled "V" shape ( Most Popular )
1.
2.
3.
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80 240 750 2200
6600
6600
4.
80 240 750 2200
80 240 750 2200
6600
6600
PAG E 11
FRONT PANEL CONTROLS:
(Continued)
OUTPUT CONTROL :
This control determines the overall output volume level of the amplifier. After the GAIN Controls have been set
for the desired sound style and the three channels levels have been balanced with their respective channel MASTER Controls, the
OUTPUT Control allows you to change the playing volume level of the entire amp by adjusting a single control. The OUTPUT Control is also wired as the Effects Loop Return Level
Control. Should you ever use your Nomad as a power amp alone by inserting a signal into
HI VOLTSONAC MAINS
ON
the RETURN jack, the OUTPUT Control will serve as the master level control.
NOTE: When using the EFFECTS RETURN as an input - to use the Nomad as a power
OUTPUT
SOLO
amp - the SOLO Control can be used to attain a footswitchable boost if the Footcontroller is
connected. It is wired in parallel to the OUTPUT Control and therefore also controls the volume of the power section.
NOTE: The Effects Loop RETURN jack can serve as a power amp input so that you may use
your Nomad as a power amplifier for either stereo reproduction or to incorporate additional
pre-amps. While the possibilities for this type of application are virtually limitless, there are a
few things to remember that will help you when interfacing to the Nomad for use as a power amp only;
1.) Connect “Dummy” plug or loose cable to SEND jack. ( This prevents any possible loading that could result in diminished RETURN
sensitivity.)
2.) The OUTPUT Level Control will be the only active control on the Front Panel.
3.) The SOLO Control may be used to footswitch in a pre-determined amount of boost when the footcontroller is connected.
SOLO CONTROL :
This control can only be activated if the correct Footcontroller is connected to the Footswitch DIN jack.
SOLO is an additional final output level control wired in parallel with the OUTPUT Control. It is capable of a setting above that of the
OUTPUT Control and can not be set below. The amount of apparent boost also depends on that of the OUTPUT Control - in that if the
HI VOLTSONAC MAINS
ON
OUTPUT
SOLO
amplifier is at either the extreme low or extreme high levels of the OUTPUT, its effectiveness is
minimized. Its been optimized for live performance medium range volume levels.
If the power section is either not a part of the sound (super quiet), or producing all its rated
wattage ( super loud), there is very little signal for the SOLO Control to work with. By using the
Footswitch and selecting SOLO, a pre-settable boost in overall level is possible on the fly ...giving
you some control over your levels when it’s time to step out. Engineers may give you a bit of a
frown the first time you use it...but isn’t it time you heard yourself. It might even prevent them from
punishing you with the dreaded monitor or sidefill version of your tone.
HI VOLTS :
Perfect for set breaks... this toggle switch also serves an even more important purpose. When the toggle is in the down
position the tubes are at idle so that during power up they may warm up before being put to use. Before
A.C. Mains is switched on, make sure the switch labeled “HI VOLTS” is in the down position. Wait at
HI VOLTSONAC MAINS
ON
least 30 seconds and then flip this switch to its ON position. This helps in preventing tube problems and
increases their toneful life substantially.
PAG E 1 2
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