QUAD PRE-AMP
MESA/BOOGIE
OWNER OPERATING INSTRUCTIONS
CONGRATULATIONS! By becoming the owner of the Mesa Quad Pre-amp, you have taken the
first step into a new world of tonal freedom. You are among the first of a new breed of players who
require the latest in digital footswitchability and yet refuse to sacrifice the old world "soul" of an all
tube amplifier. The Quad does this and much more.
You will be pleased to know that four years of planning and research went into perfecting this
instrument. Our experience as the leading force in guitar amplification for fourteen years helped us
in designing the Quad. This combined with input from players worldwide made it possible to deliver
sophisticated features in an easy to use format. So relax, and don't be intimidated! We've included
a complete description of all the controls and how they operate, as well as a very helpful settings
sheet. These are guidelines. Start here and as you become a more confident "tone pilot", feel free
to solo.
The Quad is a sensitive instrument, much like the guitar. Use this to your advantage. Read the
Owners Manual. Understanding the controls will help you create sounds you won't believe. With
time and patience you will find sounds that are uniquely yours and will provide you with a lifetime
of satisfaction and enjoyment from your music.
The Spirit of Art in Technology
NOTE: THE QUAD PRE-AMP WAS DESIGNED FOR USE WITH THE SIMUL CLASS 295 OR
STRATEGY 400 STEREO POWER AMPS. THESE ARE ALL TUBE POWER AMPS AND ARE AN
INTEGRAL PART OF THE MESA RACK SYSTEM FOR GUITAR. USE OF THE QUAD PRE-AMP
WITH ALTERNATIVE POWER AMPS IS NOT RECOMMENDED.
TWO INDEPENDENT CHANNELS, FOUR MODES!
To achieve greater tonal flexibility and footswitchable freedom, the Quad is separated into two
channels sharing one common input. Each channel offers two modes and a pre-assignable 5 band
graphic equalizer. Channel 1 is very similar to the Mark IIC, while Channel 2 is very much like the
Mark III. These were the premier guitar amps for the last five years, winning the praise of such
guitar giants as Steve Lukather, Lee Ritenour, Michael Landau, Stevie Ray Vaughn, and many
more. We found that many of these players used more than one amp and switched between them
for different sounds. A great idea but very heavy and bulky to move requiring custom made
switching systems. Thus, the need for the Quad. Two incredibly versatile amps in one taking up a
mere three spaces in your rack.
THE QUAD HAS REVERB! And you've got to hear it to appreciate it. By combining two different
sizes of 3 spring reverb tanks, we've developed a reverb that dares the digitals. With three
dimensional depth and a perfectly smooth decay we feel confident in saying this is the most
beautiful sounding reverb ever found in a guitar amp. Combine these features with a stereo effects
loop and stereo outputs and you can imagine the possibilities. The fun has barely begun.
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CHANNEL 1: RHYTHM 1, LEAD 1:
This channel would be considered the more "normal" of the two, delivering all the classic "boog"
tones you've come to love.
RHYTHM 1: A mode primarily designed to produce the ultimate in clean, sparkling, warm rhythm
sounds. With three pull shifts, (Bright, Bass Shift and Deep) as well as the standard Treble, Bass,
and Middle controls, this mode can "Out-Fender" even the best "Black Face Twins."
LEAD 1: A mode dedicated to the classic Boogie lead. Singing, vocal, grinding and searing are
just a few of the many descriptions we've heard over the years. With fifty times the gain of a
normal amplifier, two pull shifts (Treble Shift, Lead Bright), and separate Drive and Master
controls; this mode produces the smooth, warm, tight gain Boogies are famous for.
CHANNEL 2: RHYTHM 2, LEAD 2: Radical! This is truly the word to use when describing Channel
2. With unbelievable gain, this channel has been designed to provide two different distortion
sounds. One EQ’d specifically for rhythm, authentic, grinding, and "Brown." The other mode is the
ultimate in high gain lead sounds. Taken to the outer extremes this mode is truly a metal player’s
dream. Since versatility is one of MESA Boogie's forte, this channel can be used much like
Channel 1, (Clean Rhythm, Lead), by simply setting the controls lower. This mode was inspired by
the countless requests for “even more gain" than an already lethal Boogie. We've done it.
RHYTHM 2: A mode designed with crunch rhythm in mind. With ample gain to double as a lead
mode, this mode is probably the most versatile. Special attention has been paid to tight bottom
end even at the most extreme settings. An additional pull shift on the treble, for more gain, gives
you a total of four EQ shift functions (Bright, Treble Shift, Bass Shift, and Deep). Even the
"brownest" of Marshall’s will fear this mode. Rhythm 2 can also double as a second clean sound.
Just set the controls lower and a different world of bright shimmering clean sounds appear. This is
extremely useful when going from a clean chording sound to a clean single note sound. This mode
offers more tonal possibilities than many complete amplifiers.
LEAD 2: GAIN! This mode has it! Lead 2 is the "state of the art” in high gain lead sounds. Fed by a
hotter rhythm mode, Lead 2 is insane. With this much gain it becomes extremely hard to "contain"
or control the sound, not so with the Quad. Problems like feedback, microphonics, and loss of tone
control effectiveness have all been virtually eliminated. Smooth, touch sensitive, explosive and
deadly only begin to describe Lead 2. Yet with all this gain a great blues sound is still attainable at
lower control settings. (Months of painstaking R & D went into this mode. We've given you "more
gain". We sincerely hope you enjoy this mode as we have.)
THE CONTROLS: Let's review the controls, one at a time, to learn their various functions and how
they interact.
VOLUME: This control is very powerful in both channels of the Quad. Its setting determines not
only the gain in each rhythm mode, but the amount of signal fed to the lead modes as well. Lower
settings of this control will result in cleaner, brighter rhythm sounds and lower gain lead sounds.
Higher settings will result in fatter clean rhythm sounds in Rhythm 1 and more grinding crunch
rhythm sounds in Rhythm 2. This will cause the lead modes to sound more focused and remain
tighter, especially in the lower frequencies. In each channel you will discover a "sweet spot" for the
volume control. Most probably the number setting will be different on each Volume. Especially
when Rhythm 1 is set for a clean sound and Rhythm 2 is set for a crunch sound. Here's why:
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You will notice a difference in the taper of the two volume controls. This is an intended difference
and proves to be an integral part of the Quads versatility. Channel 1's Volume is much like that of
the Mark III. Very smooth, responsive and dynamic. The sweet spot is usually found somewhere
between 6 and 7½. Somewhere here, you'll find the ultimate shimmering warmth in your clean
sound and yet, send enough gain to your lead mode to keep it tight and singing. We've found 6¾ 7 to be the norm. This set-up works well for a player who wants a great clean sound, and still be
able to switch to a great lead sound. Players who put the emphasis on the ultimate clean sound
will probably want to set the volume at 5½ - 6. If you never use clean sounds or don't need
"squeaky" clean rhythm sounds you'll probably be more concerned with Lead 1. In this case a
Volume setting of 7½ - 8½ would be in order.
Channel 2's volume control has a much different taper altogether. It starts out smooth and gentle.
Right around 7-8 it starts to unleash all its mighty gain. Between 8-10 is an explosive zone of tone.
Up here Rhythm 2 becomes a truly usable Metal Rhythm sound, grinding and huge. This in turn
provides enough gain to push Lead 2 into an insane frenzy yet still, tight and vocal sounding.
Lower settings on Channel 2's Volume control enable this mode to be used for a second clean
rhythm sound. This becomes very useful for a song with a clean chording sound and a clean
single note line at a different volume level. Keep in mind this type of setting will reduce gain to the
lead mode and you'll probably want to run the Lead drive slightly higher as a result.
We encourage you to experiment with these Volume control settings. The more familiar with this
control and its subtleties you are the faster you will become at finding those "ultimate" sounds.
PULL BRIGHT: This pull function accentuates the "super top" giving shimmer and sparkle to clean
rhythm sounds. It is primarily heard in the rhythm modes although it adds a bit of three
dimensionality to the lead modes. The "Pull Bright" tends to be the most useful in Rhythm 1, when
a clean "pop" or "funk" rhythm sound is dialed up. However, when used in Rhythm 2 a little more of
the top end "nasties" peek through. The effect of the Pull Bright diminishes as the Volume control
is turned up and has no effect when the volume is set at 10.
VOLUME CONTROL
RECOMMENDED, SETTING: Channel 1 = 6¾, pulled
Channel 2 = 9, pulled
TREBLE: This control is the most powerful of the three tone controls. At high settings, (8 and
above), it will minimize the effect of the Bass and Middle Controls. At lower settings, (5 and below),
the Bass and Middle will become the dominant tone controls. Again most players find a 11sweet
spot" somewhere in the 6 to 8 range. Along with the Volume, these are the most critical controls
for performance and relationship between modes when footswitching. This control can also act as
a subtle gain control at high settings. Check both modes when setting this control. Maximum
Treble settings for more sustain in the Lead Mode can result in harshness in the Rhythm Mode. A
"perfect" setting can be attained by finding the "sweet spot" and fine tuning the pickup/volume
control setting on the guitar.
TREBLE SHIFT: This pull function is very powerful and probably the most useful. By shifting the
frequency of the treble down and boosting it, a fatter tone with more gain is achieved. The Treble
shift is voiced and applied differently in each channel. Channel 1 Is Treble Shift is voiced, just like
the Mark III, adding sustain and gain to Lead 1 only. This function is bypassed when Rhythm 1 is
chosen, as it tends to add "harsh" frequencies undesirable in clean sounds. Channel 2's Treble
Shift is voiced slightly higher than that of the first channel. This is essential in keeping the lower
frequencies focused at extreme gain settings. Another feature of this higher voicing appears in the
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lead mode. By raising the frequency of the shift, the higher frequencies have a "soaring" feeling
unequaled in any other guitar amp. Higher strings, when bending, seem to reach for the stars with
purity and focus. The Treble Shift in Channel 2 is manually operated and has no automatic bypass
function. This design was chosen so a player can apply the shift when using Rhythm 2 for a
Crunch Rhythm or Lead Sound, and bypass it when the mode is dialed up for-a clean sound. Most
players will prefer Channel 2's Treble Shift bypassed (pushed in), when using Rhythm 2 for a clean
sound.
TREBLE CONTROL
RECOMMENDED SETTING: Channel 1 = 6, pulled optional
Channel 2 = 8, pulled optional
BASS: This is a wide-ranging control and is very easy to use. It tends to become the dominant
tone control when low settings on the Treble Control are used, and more of a "coloring" control at
high Treble settings. It should be set with both modes in mind. High settings will produce a round
warm clean sound in the Rhythm modes but possibly add "low end flab" to the lead modes.
Likewise, an extremely low setting of the bass control can leave you with a "flat", two-dimensional
sound.
BASS SHIFT: This pull function can be very useful and important. Another name for it could be
"Breath Control" or "Pull 3-DII. In the Rhythm modes it truly does add "breath" to an already
"breathing" tube amplifier.
By lowering the frequency of the bass control and boosting it slightly, warmth unequaled by any
other feature appears. Single coil pick-ups benefit most from its action, becoming elastic and full of
body, while humbucking pickups produce the realistic, almost "acoustic" bottom end found in a fine
flat top guitar. If warm clean sounds are your forte, the Bass Shift is your campfire. In the Lead
Modes this same accentuation can prove invaluable in moving the air needed to obtain the huge
"chunking" low end often needed in today’s music. By pulling this control and dialing in the bass
slowly, you will find the perfect setting. Blending this with the Middle control's Pull Deep and the
Graphic EQ, you'll find that hugh low end you've always dreamed of. Fellow bandmembers will
swear Godzilla is coming down the street. This control also has a subtle effect on the higher
frequencies. A "voice" like quality will appear on higher strings with this control pulled. Experiment
with this control. Two very different "feels" can be obtained. Pulled and set lower (3 and below) a
warm "spread out" feel is obvious. Pushed in and set higher, a tighter “flutier” feel is apparent. This
can be more articulate and focused for hammering or two-handed styles. Also, used this way less
"pick noise" is heard and would be better for fast picking styles.
BASS CONTROL
RECOMMENDED SETTING: Channel 1: 3 pulled optional
Channel 2: 5 pushed optional
MIDDLE: This control is the least significant and easiest to use of the three tone controls. Like the
Bass, its effectiveness will be decreased by high settings of the Treble control and increased by a
low setting thereof. Although its action may not seem dramatic, it does add midrange warmth when
used with normal settings of the Treble and Bass Controls.
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PULL DEEP: This pull function is very self-explanatory. When pulled, the bass frequencies are
accentuated, creating a deeper, more robust bottom end. Although essentially a bass boost, much
like the Bass Shift, Pull Deep works on a different set of frequencies. This tends to "deepen" the
low end and give it that "extended" feeling as opposed to the "widening" effect of the Bass Shift.
Another crucial difference between the two is their placement in the signal path. Pull Deep is
located between the pre-amp and the effects return stage. In other words, near the end of the
signal path. The Bass Shift is very early in the signal path as its action takes place in the tone
controls. High amounts of bass dialed up early in the preamp are later amplified and can become
excessive in a high gain Lead Mode setting. Therefore, when extreme gain settings with a lot of
bottom are desired use Pull Deep instead of the Bass Shift. If still more bass is desired, try using
the 80 and 240 HZ EQ sliders as the EQ comes virtually last in the signal path. By juggling the two
bass shifts and the EQ, the Quad is capable of incomparable warmth and fatness.
MIDDLE CONTROL
RECOMMENDED SETTING: Channel 1: 5, pulled
Channel 2: 4, pulled
MASTER: This control serves two purposes and remains functional in both modes. It is a master
volume control for the Rhythm mode but is in series with the Lead Master. Therefore, at low setting
of the Master, Lead Master settings will be significantly higher to achieve equal volume levels
between the two modes. Likewise, high settings on the Master will require low settings on the
Lead Master to achieve a balance. This difference is only apparent at extreme settings. For normal
operation (switching between all modes at equal volume levels) the Master and Lead Master
Control settings will usually be very close. A very easy and convenient setting for the Master
Control is 5. This allows compensation in either direction for the Rhythm modes without adversely
affecting Lead Master settings. This setting also coincides with the second purpose of the Master
Control; this control also serves as an effects send level. A Master setting of “5” seems to provide
an adequate signal in the effects loop to drive the input of most effects. Most rack effects
incorporate input "Volume/Headroom" controls making this setting a good interface with most
effects. If you find this setting incompatible, adjust the Master Controls for the right effects send
signal and adjust the loudness level with the Output controls accordingly.
MASTER CONTROL
RECOMMENDED SETTING: Channel 1: 5
Channel 2: 4
LEAD DRIVE: This is another self-explanatory control. It is responsible for adjusting the gain,
sustain and sensitivity of the Lead Mode. Although it is responsive to the setting of Volume 1, its
range is so great that there is always enough drive available, regardless of how low the Volume
control is set. Anything from a “bluesy” low gain setting to an insane "metal" high gain sound, are
available with a twist of this powerful control. Touch sensitive!
LEAD DRIVE CONTROL
RECOMMENDED SETTING: Channel 1: Your Choice, 6
Channel 2: Your Choice, 4
LEAD MASTER: This control regulates the output level of the Lead mode in each channel. Much
like the Master, the Lead Master is also responsible for the amount of signal going to the effects
loop. Again, if a setting of 5 is inadequate to drive, or is overloading an effect, adjust the Lead
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Master and compensate for the volume difference with the Output Controls. REMEMBER, the
Master Control feeds this control and it will be affected by either very low or very high settings of
the Master.
LEAD BRIGHT: The last of the pull functions, this feature is very similar to the Volume Pull Bright.
It works only in the Lead Mode, adding brightness and gain. The result is a truly searing top end
without sacrificing fatness. NOTE: At high gain settings, especially in Lead 2, the Lead Bright
control may cause excessive squealing and pickup feedback. To avoid this annoyance when high
gain and high volume settings are in use, push in the Lead Bright. If this is undesirable, either the
Lead Drive or the Volume must be reduced.
LEAD MASTER CONTROL
RECOMMENDED SETTING: Channel 1: 3, pulled
Channel 2: 3, pulled
GRAPHIC EQUALIZERS: Now that we've reviewed the standard tone controls and have an idea
of how they interact, let's take a look at the Graphic Equalizers. The Quad is equipped with two
"on board" 5 band equalizers that are tailored specifically for guitar. Their center points provide
maximum tonal flexibility and respond to even the most subtle adjustments. This combined with
the ease and simplicity of 5 bands, makes for another powerful tone control section. Although the
equalizers are an integral part of the Quad pre-amp and provide many possibilities, they can be
bypassed at any time. All you tube purists will be glad to know months of R & D went into
perfecting the Quad's tone before the equalizers were added and scrutinized.
There are two ways to use the Quad's EQ functions. The first would be manually, via the FU-2,
switching system or, the toggle switches located on the Front Panel next to the EQ sliders. The
second application would be to use this same toggle switch to "preset" or "program" the Equalizer
to be activated simultaneously with the mode chosen. The toggle switch is a three-position switch
enabling the user to assign the EQ to either the Rhythm mode or the Lead Mode of that channel.
Should you desire the EQ in both modes, you could assign it to one and footswitch it to the other
or engage it with the footswitch and leave it on. Either way, every possibility can be achieved with
minimal player inconvenience. "Cross switching" of the Equalizers between channels is not
possible. However, if the Quad is used in a Midi system where modes are being selected via
External Midi Switching jacks on the Quads rear panel two modes can be selected at once. They
must be of opposite channels, i.e. (Rhythm 1, Lead 2 or Lead 1, Rhythm 2). In this way the "cross
switching" method can be simulated by blending the two modes so that the channel/mode with the
EQ desired is dominant. This can be accomplished via the Master/ Lead Master or assigning the
EQ and bringing the sliders below center, (less than unity gain).
Although there are many ways of setting the EQ, one “graph” seems to have found its way onto
every coliseum stage at one time or another. The classic “V”. This setting enhances the low and
high frequencies while dropping the mids significantly to create a "bigger" fatter sound. Move the
two outside sliders to just below the upper line. Move the 2nd and 4th sliders just above the center
line. Take the 750 HZ slider and center it around the lower line. Fine-tune this sound with the 750
slider. You'll find a lot of control around this lower line on the 750 HZ slider when the EQ is set in
this manner. Small increases or decreases make big sonic differences here. This slider is the
"pivot point" of the “V” sound. Most of all: Experiment! The Graphic Equalizer when used creatively
can "expand" the Quads switching capability to virtually double. Six different sounds? Eight
different sounds? Your imagination is your only boundary.
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REVERB: This control determines the mix between the "dry" (non-effected) and "wet" (reverb)
signal. At zero, only the dry signal is heard. As the control is turned up the wet signal is mixed with
the dry signal. The result is reverb. The Quad has unique reverb as compared with other guitar
amps or pre-amps. We've combined two reverb tanks of different size and decay times to produce
the richest reverb ever found in a guitar amp. No "springy" or "boingy" characteristics can be
heard. No "distortion" or reverb "clipping" occurs. An ultimately smooth decay that we consider to
be "perfect" in length for any style.
The reverb "level" in the two channels of the Quad is slightly different. Channel 1 would be
considered the more "normal", having lots of reverb for a given Reverb control setting. Channel 2
has a slightly lower reverb level because it is most often set for high gain sounds and set
"physically" higher. Higher Volume/Master settings increase reverb, yet for most "crunch" or
"metal" rhythm playing very little or no reverb is usually preferable. Lead 2 is capable of such
incredible sustain that the slightly diminished reverb level is almost inaudible and possibly
desirable. This can all be compensated for, should you wish, by using another of the Quad's
valuable features.
Reverb "Cancel" and reverb "Boost" functions have been incorporated into the reverb system of
the Quad. These functions are accessed by inserting a standard "grounding" type footswitch or a
midi switching system, i.e. (Mesa Midi Matrix) into the ¼” jacks located in the "External/Midi
Switching" section of the rear panel. This can increase or cancel the reverb mix at any setting of
the pre-amp.
We think you'll find the Quad stands up to the digitals with its incredibly "natural" reverb sound. No
"high end trash" or "digital sickness" here. Just good old fashioned spring reverb taken to the
pinnacle of sophistication. A truly gorgeous reverb sound we hope you'll get as much enjoyment
from as we have.
OUTPUT: These controls, “A” and “B” are responsible for the final output level of the pre-amp.
Adjustments here determine the amount of signal fed to the power amps. Setting them is a matter
of preference. However, by following the method mentioned here, the best signal to noise ratio is
achieved.
Start by setting both output controls to zero. Next, set both Master Controls at “5”. Then set
Channel 1 Lead Master to “4” Channel 2 Lead Master to “5”. With the Masters set at these
numbers and the Volume and Lead Drive controls set at, or close to the recommended settings
the volume level relationship between the modes should be equal. With this accomplished we are
ready to bring up the outputs.
With the standby switch on the Quad and the power amp in the "On" position slowly increase the
“A” output control to the desired listening level. Depending on the power amp used, the number
setting will most likely be very low, probably between “2” and “4”. Next, increase the "B" output
until an equal volume level is attained. Don't be alarmed if the number settings on the two outputs
are different for an equal volume level. The value of these two pots can vary slightly as well as
being affected by the settings of the pre-amp. This is normal and should not be a concern. If
effects are in use with the effects loop and input levels are not optimum, try adjusting their
"Input/Headroom" control first. If this does not satisfy the input levels, adjust the "Master/Lead
Masters" until the proper level is achieved and compensate with the outputs accordingly.
POWER SWITCH AND PILOT LIGHT: This is the AC On/Off switch for the Quad. The pilot light is
located on the upper right hand corner of the pre-amp next to the power switch. When lit this
indicates the AC voltage to the pre-amp is on.
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STANDBY SWITCH: The standby switch shuts off the signal at the effect send stage. With the
Quad in Standby, noise produced by the effects will still be audible but no signal will be passed to
the outputs. If this noise is considerable or undesirable, use the standby switches on the power
amp. Recommended Standby application:
1) During set breaks.
2) During patching and effects set-up.
3) During Power up. Approximately 30 seconds.
MODE/EQ INDICATION LED’s: There are six red LED's located in the center of the Quad between
the two channel borders. These indicated the mode/modes chosen as well as the EQ chosen.
During Power-up it is normal for all six LED's to glow. When the mode/EQ desired is selected, only
those LED's will be activated.
FU-2 FOOTSWITCH: This is the manual access to the four modes and two equalizers in the Quad.
Using digital logic, a "one of four" switching system is achieved enabling the user to access any
mode instantly with only one foot motion. In addition, the equalizers can be added to their
respective channels at will, regardless of the front panel toggle settings.
The FU-2 connects to the Quad via the 30-foot cable provided with the unit. It is a four conductor
shielded cable that is wired to a standard 4-pin XLR connector. This is inserted into the jack
labeled “FU-2 Only" located on the Quad's Rear Panel. Should a longer cable length become
necessary, another 30 foot extension may be inserted to obtain a total of 60 feet.
During "power-up" the Quad is essentially in "no mode-mode". This means that a mode must be
selected before any sound will be audible. At this time, all the LED indication lights will appear on
the front panel of the Quad and no LED indication lights will appear on the FU-2. This is normal
and should be no cause for alarm. When a mode has been selected one of the four “mode” LED's
will then be activated.
Should you accidentally hit two switches at once and two “mode” LED's remain on, you have found
one of the Quad's "Hidden Treasures". By hitting two switches simultaneously, it is possible to
access two modes at once. This feature is best suited to use one mode in each channel, (i.e.,
Rhythm 1 and Lead 2). Used in this manner a player can blend a clean sound, (for articulation)
and an overdriven sound, (for sustain) together. The result is a very unique sound with complete
control and limitless possibilities.
Should you find sounds using the “two at once” or “mode mix” feature that you want to incorporate
into a live situation, we suggest the following. Since it is very difficult to activate two footswitch
buttons at exactly the same time, an external source of switching would be preferred. The eight ¼”
jacks labeled “E./Midi Switching", located on the Quads rear panel each represent a mode/function
on the Quad. By inserting a standard "grounding" or "shorting" switch into the appropriate jack, a
particular mode or modes can be accessed: individually or simultaneously. The easiest way to
achieve this would be to incorporate the Mesa "Midi Matrix" switching system. In this set-up a
mode or, two modes at once, can be accessed under a given program number. In this manner the
"Mode Mix" function can become a valuable part of your live performance.
REAR PANEL FEATURES
INPUT: This 1/4 inch-jack is the main input for the Quad. It is an insulated Mono input designed for
use with one instrument. Always use a shielded guitar cable of good quality when connecting the
instrument to the Quad pre-amp.
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EFFECTS LOOP: The effects loop in the Quad is a Stereo loop with a “mono” (or single) send and
“Stereo” (or two) returns. It is equipped with a "Low Level/Line Level" switch that makes for easy
interfacing with virtually all effects. When using floor pedals or "inexpensive" rack effects, "Low
Level" position would be correct. When studio quality rack effects are in use, the Line Level
position will probably be better suited. Most of today’s rack mount effects incorporate a similar
switch so make sure the switch on the Quad coincides with wherever your effects headroom/input
level control/switch is set.
Another popular way to interface effects with the Quad is to use one (or both) of the main out jacks
as an effects send. By using this set-up, you gain a little more flexibility with the effects input level
because the "Output" Control(s) located on the lower right corner of the front panel become
"effects send" level controls as well as output volume masters.
For best results, set your lowest stage volume at about 3 1/2 on the Output controls and your first
effect so it has about 30% headroom left. Then set your highest stage volume about 5-5 1/2. This
should increase the volume 20% as well as raising the input level of your effects about the same
amount. Different effects may require slightly different setting but this should be close. If more
adjustment is necessary, adjust the last effects output control of the power amp input attenuator.
You may notice a normal increase in tone and overall quality in sound using this way of interfacing
effects. If so, great! If not, it makes life simple to just have one knob to turn on stage to increase or
decrease your volume.
EXTERNAL MIDI SWITCHING: These eight jacks control all the functions of the Quad. They can
be used to turn on each mode, take in and out the graphic equalizers and boost or cancel the
reverb. A standard grounding "type footswitch" will activate each function. This can come in very
handy should you ever get caught without the Fu-2 footswitch or its accompanying cable. We
suggest that you carry at least two standard grounding footswitches as part of your spare cord
bag. A Mesa Lead/Rhythm or Rhythm 2 footswitch will work perfectly for these functions. Should
you ever need them, 1 rhythm mode and 1 lead mode could then be accessed in this manner.
Another great reason to have a footswitch or two is that the "mode mix" function or two modes at
once is very easy to accomplish using an additional footswitch to add a mode to any sound you
are currently using. A player can be using Rhythm 1 and hit the external switch to add Lead 2.
This brings us to the second reason for these jacks. By connecting these jacks to a midi patch bay
or switching system such as the Mesa Midi Matrix, a mode/modes and the EQ/Reverb functions
can be called up under a program number.
Keep in mind the Master and Lead Masters control the amount of signal fed to the effects loop.
Should you find the levels too weak or too hot, adjust these controls accordingly. We've found
around 11511 on the Masters and 11311 on the Lead Masters to be appropriate for most effects.
MAIN OUT
These jacks, A and B are the outputs for the Quad. They each capture both Channel 1 and
Channel 2 of the Quad.
The signal strength here is controlled by the two "Output" controls on the lower right corner of the
pre-amp. Via these controls a signal perfect for any power amp and most effects (See "Effects
Loop") should be attainable.
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For "stereo" operation, both A and B outputs can be inserted into an effect with mono input and
stereo outputs, thus splitting the signal at the effect before the power amp.
For mono operation, simply take your choice of jacks and turn the other to zero.
RECORDING OUT
These jacks capture a low level direct recording signal. The signal here passes through its own EQ
circuit specifically designed to simulate the sound you hear when using one of the Mesa power
amps and speaker cabinets. Difficult to obtain, we feel you'll agree with us when we say this is
"The Pre-amp" to use in the studio. Save yourself hours of patching, miking, EQing, and moving
things to try to come close to your live "sound". Simply insert one of the "Recording Out" jacks
directly into the board and set it "flat". You'll be amazed at the sound, both rhythm and lead. Some
slight EQing to capture "your" sound and your ready to roll tape.
FU-2 ONLY: This 4-Pin XLR Jack receives the cable for the FU-2 footswitch. The FU-2 only should
be connected to this jack. Always make sure the jack is plugged in securely when inserting. Push
the release pin when removing the jack from its socket.
LINE FUSE: The Quad is protected from AC surges by a 1 1/4-amp fuse. Should the fuse blow,
replace it with a Slo-Blo fuse of the same amperage.
LINE CORD: This is a standard 3 pin AC Line Cord. A ground lift (3 to 2 adapter) may be used on
the Quads AC Cord when it is being used with a power amp. This can prevent ground loops and
the hum that can arise there of. It is not necessary to lift the ground in most recording situations
when a power amp is not in use.
SUMMARY: Now that we've gone through all the controls and features you're ready to tone. Use
this manual as a reference and keep it handy for the next couple months. It helps to refresh your
memory as to the signal path and other pertinent information when searching for a particular
sound. Understanding the Quad will make it much easier and more fun to use. Start with the list of
settings we've included and from there: Be adventuresome!
It's not hard to find sounds you've only dreamed of. If you have any questions don't hesitate to
give us a call. We'd love to hear from you. Once again, we'd like to congratulate you on the
purchase of your new Quad Pre-amp. In choosing this state-of-the-art instrument you and a few
bold others are leading the way into the future: redefining what great guitar tone is while earning
respect with the ease and speed with which you attain it. You are a new breed of player and we at
MESA/Boogie are proud to be associated with you. Congratulations and most of all, Enjoy.
- 10 -
SAMPLE SETTING SHEET FOR QUAD PRE-AMP
*MEANS CONTROL PULLED OUT
(1) Clean Rhythm 1, Crunch Rhythm 2, Grinding Lead 1, Screaming Lead 2:
VOL. TREB. BASS. MID. MAS. LD.DR. LD.MAS. REV.
CHANNEL 1 6* 6* 3* 3* 5 6 2½ 3
CHANNEL 2 8* 7* 5 5* 4 4 2½
(2) Clean Rhythm 1, Grinding Rhythm 2, Searing Lead 1, Insane Lead 2:
VOL. TREB. BASS. MID. MAS. LD.DR. LD.MAS. REV.
CHANNEL 1 7* 7* 5 5* 5 6 3* 2½
CHANNEL 2 9* 8* 4 5* 5 5 3*
(3) Clean Rhythm 1, Clean Rhythm 2, Singing Lead, Bluesy Lead 2:
VOL. TREB. BASS. MID. MAS. LD.DR. LD.MAS. REV.
CHANNEL 1 6* 6* 3* 5* 5 4 3½* 4
CHANNEL 2 6* 6 3* 3* 5 5 4
(4) Clean "Chording" Rhythm 1, Clean "Single Note" Rhythm 2, Brown & Round Lead 1, Bluesy Singing Lead
2:
VOL. TREB. BASS. MID. MAS. LD.DR. LD.MAS. REV.
CHANNEL 1 6* 6* 3* 3* 5 6 3 3
CHANNEL 2 4* 5 3* 3* 10 4 2*
NOTE: FOR CLEANEST RHYTHM 2, THE MASTER IN CHANNEL 2 SHOULD BE SET AT 10.
(5) Jazz Rhythm 1, Warm, Round, Clean Rhythm 2, Soft Clipping Lead 1, various functions and how they
interact.
VOL. TREB. BASS. MID. MAS. LD.DR. LD.MAS. REV.
CHANNEL 1 6 3 5 5* 5 3 3½ 4
CHANNEL 2 5 5 5 5* 10 5 2
NOTE: FOR CLEANEST RHYTHM 2, THE MASTER SHOULD BE SET AT 10.
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