Mesa Boogie Road King User Manual
M
Owner's Manual
ESA
OOGIE
B
Greetings from the Home of Tone
Congratulations on your choice of the ROADKING as your Guitar amplifier and
welcome to the MESA/Boogie family! As a discriminating player you probably know
that you have purchased the most comprehensive instrument for amplifying Guitar
that is available. What you might not realize is that this entitles you to all the
experience, resources and commitment our twenty-five years of service to musicians
world wide has to offer. Our responsibility is to help you sound great! So, if at any
time you feel you need help or direction, we are here for you...a phone call away.
Table of Contents
Precautions 0
Overview 1/2
Getting Started 3
Helpful Hints 3/4
FRONT PANEL:
MODES: Ch 1 & 2 Clean 5
Ch 1 & 2 Fat 5
Ch 1 Tweed 6
Ch 2 Brit 6
Ch 3 & 4 Raw 6
Ch 3 & 4 Vintage 7
Ch 3 & 4 Modern 7
CONTROLS:
GAIN 8
TREBLE 9
MID 9/10
BASS 10
PRESENCE 10
MASTER 11
OUTPUT CONTROL 11/12
SOLO CONTROL 12
HI VOLTS & AC MAINS SWITCHES 12
REAR PANEL:
SLAVE 14
SPEAKER OUTPUT BANK A + B - Cabinet Switching 14
REVERB 15
CHANNEL STRIPS 15
PROGRESSIVE LINKAGE 15
SELECTING POWER TUBE ARRAY and TRIODE / PENTODE SWITCH (pg.17) 16/22
RECTIFIER SELECT with TUBE-TRACKING 22/23
SPEAKER A / B & A + B SELECT SWITCH 23
FX LOOP SWITCHES & CONTROLS 23/27
EXTERNAL SWITCHING 27
POWER: SPONGY & BOLD 27
FUSE 28
FACTORY SAMPLE SETTINGS 29/32
DIAGNOSING TUBES & TUBE MAINTENANCE 33/34
Feature Article: Bias Adjustment by Randall Smith 35/36/37
SPEAKER HOOK-UP & IMPEDANCE MATCHING GUIDE 38/43
Feature Article: Irishmen, Pentodes & Triodes by Randall Smith 44/45/46
PARTS SHEET 47
6
PRECAUTIONS & WARNINGS
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:
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING:
certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet.
Keep away from curtains or any flammable objects.
Vacuum tube amplifiers generate heat. To insure proper ventilation always make
WARNING:
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of
its cabinet.
WARNING:
place objects filled with liquids on or nearby the amplifier.
WARNING:
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 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. 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. Remove the power plug from the AC mains socket if the unit is to be stored
for an extended period of time. If there is any danger of lightning occurring nearby, remove the
power plug from the wall socket in advance.
Do not block any ventilation openings on the rear or top of the amplifier. Do not
Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
Always make certain proper load is connected before operating the amplifier.
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. 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.
Operating Instructions
OVERVIEW:
Congratulations on choosing the
choosing this all-tube hand-built instrument you have taken a step into the future of guitar amplification, for as you can see at a glance,
Road King
the
is more than just an amp. It’s a
Array. This arsenal of sounds is so powerful that with them at your command, inspiration will take over and propel your playing to
places you have only dreamed. Let’s take a moment and review the features that make up this house of tone.
First and foremost it will help you to digest this dictionary of amazing guitar sounds by realizing that, as daunting as it looks, it is really
just four separate amps. If you view it as such and learn them individually and
process easier. Each Preamp Channel on the Front Panel has a corresponding Power Amp/Effects Loop Control Panel on the Rear
Panel (we call them Channel Strips). Once you have chosen a Channel/Mode combination for a sound, you simply go to the Rear
Panel and select that Channels’ power amp choice (any 1 of 5 selections), choose y our Rectifier Style and program y our Eff ects Loop
choices. There you go, one channel done…repeat this scheme three more times and you are ready to explore your first palate of
sounds in the
Road King
as you go deeper. In case that was too simple sounding, here is a more expanded way of understanding the
Mesa Dual Rectifier Road King
collection of amps
as your amplifier and welcome to the
Mesa/Boogie
F amily! By
housed in one chassis that we refer to as an Advanced Amplifier
then
combine and dedicate them, you will find the
. Rest assured, many more combinations are lurking in there and you can look f orward to years of discov ery
King
Four independent preamp channels mak e up the front end of the
Road King
and though they ma y each be used f or any sound, the y
are grouped as two sets of lower gain Rhythm Channels (1 & 2) and two sets of high gain Lead Channels (3 & 4). The two sets are
stacked with the lower gain rhythm channels following the Input jack. Each of these channels house 3 different modes, which are
voiced differently and in cer tain cases have different gain structures. You’ll notice the modes are duplicated in the two types of
channels (excepting one in each Rhythm Channel) which makes it possible to use the them for different settings of the same sound.
OVERVIEW: (Continued) This allows the
Road King
to be many amps to many players and roam confidently between extremely
different musical styles while retaining the ability to focus in on any one and offer a multitude of great sounds for a specific genre. For
example , a Blues pla yer might dial up 1 & 2 for different clean sounds using the same mode for both chording and solo fills , while 3 &
FRONT VIEW : COMBO
CLEAN
FAT
TWEED
GAIN TREBLE MID BASS PRESENCE MASTER
CLEAN
FAT
BRIT
REAR VIEW : COMBO
CH 2
4 A
SLO
BLO
CH 3
ROAD
CH
FT
KING
1
SW
CHANNEL
FOOT
CONTROLLER
SOLO REVERB LOOP 1 LOOP 2
CH4 CH3
BOLD SPONGY
POWER FUSE
120 V~
60 Hz
4 A
FUSE
Road King
Road King
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.
EXT.
SWITCH
CH2 CH1
LOOP SYSTEM
ACTIVE
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
SEND 1
RETURN 1
CH1 CH3
FX
LOOPS
WARNING
:
To reduce risk of fire or electric
shock, Do not remove cover. No userserviceable parts inside. Refer
servicing to qualified personnel.
NORMAL NORMAL
10%
FTSW MIX
SEND LEVEL
SEND 2 RETURN 2
GAIN TREBLE MID BASS PRESENCE MASTER
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
90%
EXT. TRIGGERS
L
A
T
C
H
I
N
G
P
U
L
S
E
2x6L6
2xEL34
2x
EL34
2x
6L6
PROGRESSIVE
LINKAGE
DIODE
TUBE-TRACKING
RECTO
SPKR
4x
6L6
2xEL+
4x6L6
CH 4
A
B
10% 90%
A
+
B
OFF
LOOP 1
NORMAL
LOOP 2
ON
2x6L6
2xEL34
2x
4x
EL34
6L6
2xEL+
2x
4x6L6
6L6
10% 90%
PROGRESSIVE
MIX
LINKAGE
CH 3
ON
A
DIODE
A
+
TUBE-TRACKING
RECTO
SPKR
B
B
LOOP 1
OFF
LOOP 2
ON
OFF
NORMAL
LOOP 2
MIX
OFF
LOOP 2
ON
RAW
MODERN
RAW
MODERN
2x6L6
2xEL34
2x
EL34
2x
6L6
PROGRESSIVE
LINKAGE
DIODE
TUBE-TRACKING
RECTO
SPKR
A
B
VINTAGE
VINTAGE
4x
6L6
2xEL+
4x6L6
CH 2
A
+
B
NORMAL
10% 90%
LOOP 2
MIX
ON
OFF
OFF
LOOP 1
LOOP 2
EL34
2x
6L6
ON
TUBE-TRACKING
OUTPUT SOLO
PROGRESSIVE LINKAGE
2x6L6
2xEL34
2x
4x
6L6
2xEL+
4x6L6
PROGRESSIVE
LINKAGE
CH 1
A
DIODE
A
+
B
B
SPKR
RECTO
2xEL342x6L6
NORMAL
10% 90%
LOOP 2
MIX
ON
OFF
OFF
LOOP 1
LOOP 2
ON
2x6L6
ESA
B
M
CH 3 CH 1
REVERB
RECTIFIER TRACKING
OOGIE
COMBO
CH 2CH 4
CAUTION:
AC MAINS
HI VOLTS
ON
DIODES5U4
5U4
SPEAKERS
4 OHM4 OHM8 OHM
USE WITH TWO 8 OHM CABS
USE SHORTING PLUG IF NO SPKRS IN B
ON
A
LEVEL
SLAVE
OUT
B
PAGE 1
OVERVIEW: (Continued)
4 provide different levels of the same lower gain solo sound. Conversely, a Rock player might configure 1 & 2 for semi-clean and
pushed rhythm sounds respectively and dedicate 3 & 4 to high gain crunch rhythm and lead sounds using different settings of the
same modes.
This type of preamp versatility means you will never have to compromise, even when you change bands or venture into a new and
different style with your playing…and you’ve chosen an amp that will grow with you.
This awesome preamp power is then sent to the
Road Kings’
Effects Loop section and we have provided both Series and Parallel
Loops to assure a match to whatever type of processing you choose. These may be used individually or combined, and may be
programmed active in any of the channels or, footswitched in and out on the fly.
From there we reach the coolest feature of all and the reason why the
Road King
is just that…our patented Progressive Linkage
switchable, and in this case assignable, power section. That’s right, any of the 4 preamps can be combined with any one of the 5
power section configurations! You choices are the bubbly, elastic 2 x 6L6; the urgent, brash 2 x EL34; the tight, bold 4 x 6L6; the
elusive, stinging 2 x 6L6 + 2 x EL34; and the huge, dominating power of 4 x 6L6 + 2 x EL34.
Each of these power configurations lends its own personality and when matched with the right preamp can sonically define a musical
style. But it doesn’t end there…the
Road King
also features Rectifier Tracking, a feature which automatically matches the type of
rectification for each of the preamp / power sections y ou have configured. This means you can tune the power f eel even further to the
sound you are creating. You might want a lower wattage clean sound with the loose, airy feel of Tube Rectification and a high gain lead
sound with higher power and the tight tracking bass response of the Solid State rectifier or vice versa. Many combinations are
possible and the best part is that Rectifier Tracking follows your choices in power sections to always mate the proper amount of
rectification for a given string of tubes. For example, if you are using either 2 x 6L6 or 2 x EL 34 and you choose Tube rectification, 1
x 5U4G will be applied. If you use either 4 x 6L6 or 2 x 6L6 + 2 x EL34 2 x 5U4G will be used. And finally, if you choose to run all six
power tubes (4 x 6L6 + 2 x EL34) then the Silicon Diodes will be called up, ensuring that you have maximum headroom at all times.
This Rectifier Tracking feature provides one more layer of focus to an already mindbending array of sounds to create the most
expressive amplifier available anywhere.
And if this versatility isn’t enough, add to the palate Programmable Channel-specific Speaker Switching! That’s right, you can utilize
two different types of speaker enclosures to enhance different sonic characteristics and combine these choices with each Channel/
Mode scheme. Use an open back 2 x 12 cabinet for more shimmering clean performance and switch to a closed back 2 x 12 for a
bigger, more compressed lead sound. There are even provisions for using two cabinets of different impedance loads…the choice is
yours.
Road King
The
switched in and out via the
incorporates a rich analog Reverb , which is controlled per channel with the Rear Panel Reverb controls and ma y be
King Kontroller
.
Our SOLO feature is an additional Output Level control that is wired in parallel to the Output and provides a pre-assignable, footswitchable
boost for stepping out when it’s time to solo.
A built-in Variac, our patented SPONGY/BOLD switch, is also included which enables you to reduce the A.C. line voltage for a looser
brown
feel and increased upper harmonic spread resulting in that
sound that has the elusive sag.
And finally, to keep you in constant control of all the f eatures aboard this v ehicle of expression, we have supplied one of the mightiest
footswitches around…the
King Kontroller
. All possible Channels, Functions and Features are there for your instant access and
their status is monitored by LED illumination.
So with an overview of the basic layout of the
Road King
behind us, let’s get ready to play.
1.) After unpacking the amplifier remove the plastic webbing from all of the tubes (including the preamp tubes behind the row of
power and rectifier tubes) and make sure all tubes are seated firmly in their sockets.
PAGE 2
Getting Started:
2.) Install the 5U4 Rectifier tubes (if they are not already in place) by bending back the spring steel tube clamps just enough so that
the base of the tube will have to barely push the clamps out of the way as they go in. Be sure to line up the guide with the slot in
the socket, don’t force it…when it is lined up it will fit in the socket easily. When the tube is lined up gently press the tube into the
socket while rocking it back and forth until it is seated.
3.) Connect the 8 Pin DIN Footcontroller Cable to the female DIN connector located on the Rear Panel just under the Rotary Mode
Select Switch.
4.) Connect your speaker enclosure(s) to the proper impedance SPEAKER OUTPUT jacks “A & B”. If only one speaker cabinet is to
be used make sure that the dummy plug connected to the chassis is connected to the “B” jack to prevent accidental output
transformer damage due to a “no load” scenario.
5.) Connect the A.C. Power Cable to a grounded A.C. outlet.
6.) Flip the A.C. Mains switch to the ON position and wait at least 30 seconds for the power tube filaments to warm up with the HI
VOLTS switch in the down position. This cold star t procedure prolongs tube life so try to follow it each time you power up the
amplifier.
7.) Turn the Front Panel OUTPUT control to zero before flipping the HI V OLTS switch to the ON position. This will prevent accidental
settings that are too loud for the room and y our ears. These amplifiers are LOUD and are capable of e xtreme v olumes and should
be used with care to avoid damage to your hearing. Starting each power up with the OUTPUT control zero-ed help to eliminate
painful and/or embarrassing situations.
8.) Flip the HI VOLTS to the ON position and enjoy your new realm.
Helpful Hints:
1.) The Rear Panel CHANNEL SELECT Rotary switch must be set to FOOTSWITCH to access either Channels or features via the
footcontroller.
2.) The OUTPUT and SOLO controls work only if the Effects Loop is active. Switch out of the LOOP BYPASS position in the
EFFECTS LOOP section of the Rear Panel.
3.) Should you select a Channel when the Cabinet Switching Feature is
broken-up or distorted signal, or no signal at all… Check that the SPKR ASSIGN mini toggle in that Channels’ Strip is
assigned to SPKR “A + B” or “B”.
4.) The SOLO Control is activated when the Footcontroller is connected to the FOOTSWITCH jack on the Rear Panel and the
Effects Loop is tak en out of LOOP BYPASS and activated. When the Footcontroller is not connected the SOLO control will have
no effect on the signal.
5.) When the Parallel Loop is activated it is normal to hear the volume drop a bit. Use the SEND LEVEL Control to bring the level
back up even if no processor is in the Loop.
6.) The SOLO feature can be used to set a volume level above that of the OUTPUT control setting. It will not allow a setting below
that of the OUTPUT control.
not being used and experience either low output or a
not
7.) The GAIN and TREBLE controls are the most powerful controls in all four channels. They should be used with taste and you will
find that many of the best sounds are found with the controls set somewhere in their middle regions. Avoid setting the TREBLE
above 2:00 when the GAIN is maxed as the possibility of unwanted noise and squealing from microphonic tubes increases
dramatically above this setting.
PAGE 3
Helpful Hints: (Continued)
8.) You will notice a substantial volume increase when s witching from either the RAW or VINTAGE modes to the MODERN mode in
Channels 3 & 4.When switching modes Always check your MASTER controls to avoid sudden volume increases. It is a good
practice when setting up your channels, to get in the habit of zeroing out the Channel MASTER control each time you switch
modes.
9.) When using the Parallel Effects Loop for exter nal processing, the best tonal results are usually obtained with the processors’
Dry/Wet mix set as close to 100% as possible and the Road Kings’ LOOP 2 and/or FTSW MIX set closer to the 10% region. This
scheme will retain most of the pure sound of the amp and lower the chance of any degradation due to the processors’ limitations.
10.) The PRESENCE control determines alot about the voicing of gain sounds. Set lower it will fatten and compress single note
sounds and lend a liquid feeling to the strings in the 3 modes of Channels 3 & 4. Set higher it will add cut and brightness to the
sound and can be useful in keeping Bass response tight, especially at high GAIN settings when searching for crunch rhythm
sounds.
11.) When using processing in both Effects Loops, keep in mind that Loop 1 (the Series Loop) comes before the SEND of
Loop 2 (the Parallel Loop). Therefor, it may be wise to configure your processors so that the units used to derive effects such
as Chorus or Delay are inserted into LOOP1 and feed the unit(s) used to produce Reverb in LOOP 2. Generally, Reverb is put
at the end of a string of effects and Chorus and or Delay is put earlier. These are just practices and certainly not rules.
12.) Always keep the dummy shorting jack connected to the “B” SPEAKER OUTPUTS when you are not using two sets of
cabinets for Cab Switching. This will protect the output transformer from damage should signal accidentally be sent to the “A+B”
or “B” OUTPUTS via the SPKR Program switch.
13.) Although Channels 3 & 4 contain duplicate modes, the PRESENCE controls are different and therefor settings and
sounds will not dial up exactly the same. CHANNEL3 has been optimized for the RAW and VINTAGE modes with a
PRESENCE control that peaks just above “ver y bright” and at the low end of the control gets truly round and squashed. This
response showcases the more warm and fury nature of these two modes. CHANNEL 4 houses a much more powerful
PRESENCE control that has been optimized for the MODERN mode and will go to realms of top end that are frankly
ridiculous. However, up to the 2:00 region its’ more unbr idled response makes the Recto MODERN mode a force to reckon
with. Think of the difference like this; the entire range of CHANNEL 3s’ PRESENCE control can be found below 10:00 on
Channel 4s’ PRESENCE control. It plays out like this; using MODERN IN Channel 3 will require a PRESENCE setting at the
top of the range and conversely, using RAW and VINTAGE in CHANNEL 4 will require a very low PRESENCE setting.
NOTE: CHANNELS3 & 4: Should you find that you favor RAW and VINTAGE and never need the aggressiveness of MODERN. Or
the opposite, you f a vor the shredding cut of MODERN and have no use for the w armer nature of RAW and VINTAGE, it is possible to
duplicate the PRESENCE controls in CHANNELS 3 & 4 with a simple pot value change. However, before you call and have us send
you the part, we strongly recommend working with the two channels as they are. Much thought was put into how to maximize the
modes for the best performance under a broad range of styles. By spending some time exploring you may find that you come to love,
and actually rely on, sounds you thought you had no use fo r. Such is the beauty of an amp that is capable of so much diversity.
14. When switching Channels with Reverb applied or switching the Reverb itself in and out of the signal path with the Footcontroller,
it is normal to experience approximately 1-2 seconds of dela y bef ore the Rev erb eff ect is mixed bac k in with the dry signal. Se e NO TE:
under REVERB in the Rear Panel section of this manual for more info.
Now that we have shared a few hints to make things easier, let’s take a look at the controls and modes.
PAGE 4
CHANNEL MODES:
CHANNELS 1 & 2: CLEAN This is the lowest gain circuit of the
Road Kings’
twelve modes and is optimized f or producing balanced
pristine clean sounds. This mode is duplicated in CHANNEL 2 as it is extremely useful for many different applications. For the best
understanding of how to achieve a great sound in this mode, please refer back to the GAIN control section of
CLEAN
FAT
TWEED
this manual. However, a great place to star t 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 also add gain and sustain to this sound ( reduce Presence to
CLEAN
FAT
BRIT
blend highs ), but you will probably want to run the BASS control below 10:30 to avoid flubbiness and preserve
a focused attack.
CHANNELS 1 & 2: FAT
This mode comes from our original
Mark 1 Boogie
and puts emphasis on the low mid and bottom end and as a result the top strings
of the instrument have more girth and width. This mode is duplicated in CHANNEL 2 is very useful for a variety of sounds. The
difference is wonderful for clean single note soloing where you need more body and warmth behind the notes.
CLEAN
FAT
TWEED
Because this mode is very different from the CLEAN mode, it requires that you reset the controls for balance.
We suggest running the BASS control a couple notches lower, especially for chording.
It also helps to use the GAIN controls’ tonal influence (refer to GAIN in the controls section of this manual) to
achieve the best results with this mode. We like to set the GAIN somewhere between 10:30 and 12:00 for
chording as this brings out the sparkle and improves the headroom.
CLEAN
FAT
BRIT
For single note clean soloing you can run the GAIN up around 1:00 – 2:00. If you are going for a pushed rhythm
sound with the GAIN all the way up, you will likely have to run the BASS below 9:30 to avoid flubbiness and
boom.
CHANNEL 1: TWEED
This mode appears in CHANNEL 1 only and is a variation on the CLEAN that appears in both channels. Here we have emphasized
the elastic, bouncy character of the low gain clean circuit to achie ve a more vintage f eel that has an element of sag b uilt in. This mode
feels easier to play and you would swear there is less resistance on the strings…almost as if you were using a
lighter gauge set of strings, but it is just our treatment of the signal.
CLEAN
FAT
TWEED
This characteristic can be enhanced even further by assigning this mode to the 2 x 6L6 power section in
CHANNEL 1’s Channel Strip. The bubbly nature of this lighter, brighter power feel mates perfectly with the
TWEED mode enhancing what is already a rubber band joy-ride to achieve one of our favorite sounds in the
entire amp.
CLEAN
And if you like this approach to clean sounds, be sure to check the beyond vintage feel by taking this scheme a
FAT
BRIT
step further and selecting SPONGY on the A.C. PO WER SELECT s witch and knocking the A.C . do wn f or a truly
soupy vibe. Whether you choose to utilize TWEED for these lower headroom retro applications or, you want a
high headroom sound with just a bit more resiliency, this mode is a wonderful voice for any style of clean
playing.
PAGE 5
CHANNEL MODES:
(Continued)
CHANNEL 2: BRIT
This mode appears in CHANNEL 2 only and, as the name implies, was inspired by the great sounding amps of the 50s’ & 60s’ that
were built in Great Britain. These classic amplifiers were basically “upside down Leo circuits” b ut none the less had a signature sound
all their own, due largely to the fact that they were powered by the pentode available to them at the time…the Euro style EL 34. This
difference, along with minor value differences in the circuit, created a very different sound than the tweed and
black face amps born in the United States.
CLEAN
FAT
BRIT
We have combined all the great qualities of several of these classic circuits to arrive at a sound that is pure
teabag. With emphasis on a lower region of Treble and more punch in the low mids, this mode is truly different
than the other modes in CHANNEL 1 & 2. It works extremely well for both chording and single note soloing with
its thicker, throatier nature. It also lends itself well to clipped sounds, with its less extended top end and wider
mid section, producing some of the coolest crunch rhythm sounds around.
Needless to say, the 2 x EL34 power section was born to ser ve this mode and when these two parts are used together a level of
character is unveiled that is the natur al equivalent opposite to TWEED feeding the 2 x 6L6 power harness. BRIT also works very well
with the combination power sections of 2 x 6L6 + 2 x EL34 and 4 x 6L6 + 2 x EL34. These two schemes are great if y ou want the more
urgent character of the ELs’ b ut need more headroom than they are capab le of providing by themselv es . The choice is y ours as to how
best to use this very cool and different mode and we f eel sure that, no matter how y ou decide to dedicate your clean channels , you will
find the BRIT mode an awesome addition to your bevy of sounds.
CHANNEL 3 & 4: RAW
This new
Road King
mode is the lowest gain of the three in the two high gain lead channels. Its less saturated nature greatly
enhances the already versatile bag of sounds the two original lead channels offered. The range of gain available covers an extremely
wide spectrum and it can be set to double as a formidable alternate clean mode, a low gain purring
blues sound and beyond, all the way up to a grinding crunch or searing solo sound.
RAW
VINTAGE
The TREBLE can be set relativ ely high (2:00) to add a little more gain and shred when using RAW for
certain crunch rhythm sounds and keep in mind CHANNEL 4 is capable of more aggressive sounds
MASTER
MODERN
RAW
VINTAGE
MODERN
due to its more extreme PRESENCE control taper. Don’t overlook the amazing medium gain soloing
potential RAW offers in CHANNELS 3 & 4 where, because of the PRESENCE controls more gradual
response, a wider range of voice-like single note sounds appear that benefit from this more compressed character.
CHANNEL 1 & 2: VINTAGE
Recto
This high gain mode is the famous liquid
voice and it can be found in its original state in CHANNELS 3 & 4. Its lush harmonic
content and fat creamy feel has found its way onto so many recordings, it is now a staple for anyone headed to the studio for an album
project. combining this super juicy, expressive preamp with the
Rectos’
black magic, tube-rectified power section creates colors in
gain that most players find truly addictive. Single note solo work is effortless as the strings become
easy to play with VINTAGE modes musical and natural tube compression. Spend time learning the
MASTER
RAW
VINTAGE
MODERN
RAW
VINTAGE
MODERN
lower regions of the VINTAGE mode as the overlap between RAW and VINTAGE is a place where
many beautiful sounds lie.
These two modes are similar enough when VINTAGE is set in its lower range and RAW is set in its
medium to higher range and yet, each posses a character that is unique and identifiable. Remember
that you can swap channels to achieve different voicings of the VINTAGE sound and no matter which
you settle upon, you will likely find your trademark lead sound lurking somewhere in this sea of liquid
gain.
PAGE 6
CHANNEL MODES:
(Continued)
CHANNEL 3 & 4: MODERN
Aggressive. This is the word that best describes the menacing power of the
Road Kings’
most rebellious of all modes and appears
in its original form in CHANNELS 3 & 4. A take no pr isoners, crushing assault of top end cut and lightning fast response creates a
sound of unparalleled aggression that has set a new standard for hard core sounds.
RAW
The added tightness of the low end response combined with the radically more present top end keeps
the MODERN mode tracking accurately even at extreme gain settings. Keep in mind that when using
MODERN in CHANNEL 3 you will have to run the PRESENCE control almost all the way up to approach the lower range of the PRESENCE control in CHANNEL 4.
MASTER
VINTAGE
MODERN
RAW
VINTAGE
MODERN
This lack of extreme top end can be a benefit when searching for single note solo sounds in the
MODERN mode as the more compressed nature of this tamer presence range in CHANNEL 3 tends
to warm things up.
CONTROLS:
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
Road King
channel looks identical, the GAIN control for each channel comes in a different place and adjusts a different point in that channels
circuit.
CLEAN
In most guitar amplifiers, and especially in all-tube circuits, the GAIN control is the most powerful
FAT
TWEED
GAIN
CLEAN
FAT
BRIT
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
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.
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 -
is really three separate multi-mode amplifiers built onto one chassis , so though each
Road King
, the GAIN
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
Road Kings’
best sounds...especially for soloing due to the crucial blend of an e xpressive attac k 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.
PAGE 7
CONTROLS:
(Continued)
NOTE: Due to the
Road Kings’
extreme gain potential, the highest regions of the GAIN control ma y 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. Your 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 ver y low volumes, back down the TREBLE and PRESENCE controls. Your
Road King
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 str ing
has less and less effect on the signal until at 5:00 the signal is so saturated that y ou are getting mostly Gain and very little T one. 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.
TREBLE:
As in most tube guitar amplifiers, the TREBLE control ( in all four channels of your
Road King
) 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
FAT
CLEAN
at their respective controls. Like most of the controls on your
Road King
an optimum region of the TREBLE control where ample top end is mixed in and yet
enough signal is still passed on to the MIDDLE and BASS controls.
, there is
As you might surmise, here is the sweet spot. There are definitely great sounds
above and below this middle region ( 11:00 - 1:30 ), but the balance between the
TREBLE control and the other two tone controls is compromised.
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 of your new
. In all 3 modes ( CLEAN, FAT & TWEED ), the TREBLE control can be used
King
Road
FAT
TWEED
CLEAN
BRIT
GAIN
TREBLE
to dump extra gain into the mix. This is especially effective in the TWEED 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. This said, keep in mind that the TREBLE control in Channel 1 TWEED
should not be set much above 2:30 to avoid unwanted microphonic tube problems.
MID:
The MID control is responsible for the b lend of midr ange 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 y our
Road King
. It is capab le of changing the f eel dramatically as
it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
Most players tend to lean in the direction of lo wer 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, even feel to the strings and
PAGE 8
CONTROLS:
(Continued)
MID: (Continued) 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 quic kly. As y ou 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 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.
CHANNELS 1 & 2 utilize a different MIDDLE control than that of
the CHANNELS 3 and 4 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, pref erring to let Treble and Bass remain dominant, thus
producing the signature sparkle and breath essential for a pristine
FAT
FAT
CLEAN
TWEED
CLEAN
BRIT
GAIN
TREBLE MID
clean sound.
As the MIDDLE control in CHANNELS 1 & 2 are 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 TWEED modes to extremes. Experiment with this cranked region in conjunction with conservative settings of the other
tone controls to balance both sound and feel. While this added flexibility may make CHANNEL 1 & 2 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:
This control works similarly in all four 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 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 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.
FAT
FAT
CLEAN
TWEED
CLEAN
BRIT
GAIN
TREBLE MID BASS
PRESENCE:
The PRESENCE control is a high frequency attentuator that is placed at the end of each channels pre-amp stage and affects
frequencies higher than those of the TREBLE control. It acts independantly of the other rotary tone controls and is cr ucial 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
Road Kings
will find
the PRESENCE control in its lower regions, where a balanced, vocal response is achieved.
PAGE 9
CONTROLS:
(Continued)
Higher settings unleash the mighty roar of your
more aggressive crunch rhythm sounds in the high gain modes. Be sure to taunt the beast that lurks in CHANNEL 3 MODERN as the
PRESENCE is truly amazing in this most agro mode.
NOTE: Read the following section on the Modes for CHANNEL 3 and 4 for more PRESENCE
control related information.
Road King
and this can be great for sparkling clean sounds in Channels 1 & 2 and
MID PRESENCEBASS
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 f our channels relativ e v olumes to be matched regardless of their e xtremely di fferent
sound styles and gain signatures. The MASTER control makes possible a wide range of sounds through its ability to use ver y 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.
BASS MASTERPRESENCE
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 only may this
cause possible overloading of the processors Input stage, but will make balancing the four
channels’ Effect Send level difficult.
OUTPUT CONTROL:
This is the overall OUTPUT LEVEL control f or the entire amplifier. It is located at the input to the po wer section and allo ws you to raise
adjust the playing le v el once you ha ve used the individual CHANNEL MASTER controls to balance the level of the four Channels. The
OUTPUT receives its signal from the EFFECTS RETURN jacks of both LOOP 1 and LOOP 2 and therefor this control is only in the
signal path and active when the EFFECTS LOOP is set to LOOP SYSTEM ACTIVE.
When in LOOP BYPASS the individual CHANNEL MASTER controls are the final output
OUTPUT SOLO
2xEL342x6L6
2x6L6
level controls.
NOTE: USING THE ROAD KING AS A POWER AMP ONLY
It is possible to use the
with external preamps, as half of a stereo power rig or, as a slave for another
in larger venues. Here’s how;
King
Road King’s
power section as a stand alone power amp f or use
Road
PA G E 1 0
CONTROLS:
OUPUT CONTROL: (Continued)
1.) Connect your preamp signal to the EFFECTS RETURN jack of LOOP 2.
2.) Select LOOP ACTIVE on the Rear Panel
3.) Use the OUTPUT control as your power amp level control.
4.) Adjust the PRESENCE control of the Channel you are using to taste.
5.) Select a Channel and a power setting in that Channel.
All the Progressive Linkage Switching Power Functions will still work if you program power changes to the different CHANNELS and
then select channels with the Footcontroller. You do not have to use the switching feature, simply leave the
Channel and select the power section you wish to use in that Channel Strip on the Rear Panel.
Keep in mind that all these different power sections will amplify a given preamp signal differently, so y ou
when switching around. This
if the Progressive Linkage Switching was used with a programmable tube preamp such as our
another
Road King
.
(Continued)
Road King
will
have v olume differences
may
actually fit your needs and can be used to create some interesting power possibilities…especially
TriAxis
or another parallel with
in one
We recommend
due to the removal of negative feedback in the power section creates an extremely hard to manage power amp. If you wish to use all
four Channels when using the EFFECTS LOOP RETURN as a POWER IN jack we suggest using CHANNELS 1 & 2 in the CLEAN
mode and CHANNEL 3 & 4 in the RAW mode. This will provide uniform input sensitivity and the only volume difference you will
experience are those caused by the output power of the different tube harnesses.
SOLO:
This control is an additional output control wired in parallel with the main OUTPUT that you can pre-set to a higher level and then
switch to during performances. A simple idea that adds amazing potential to vir tually any sound in the amplifier. Like the OUTPUT
not using the MODERN mode of CHANNELS 3 & 4 for this application as the increased power sensitivity of this mode
control, SOLO gets its signal from the EFFECTS RETURN jacks of LOOP1 and
LOOP 2 and therefor it is only in the signal path and active when the EFFECTS
OUTPUT SOLO
2xEL342x6L6
PROGRESSIVE LINKAGE
2x6L6
LOOP is set to LOOP SYSTEM ACTIVE. This control ma y be used to step out f or
a solo or to compensate for other volume drops created by various switching
scenarios. One might be a processor in the one of the LOOPS that you love the
sound of, but steals gain from your signal when introduced via the LOOP. However you choose to use this valuable feature, SOLO adds power and versatility
to an already mighty package.
NOTE: As mentioned above, when using the
the SOLO control can be used to provide a footswitchable volume boost for the
power amp.
Road King
as a slave po w er amp
HI VOLTS:
Perfect for set breaks... this toggle switch also serves an even more important purpose. In the Standby position the tubes are at idle
so that during power up they may warm up before being put to use. Before Power is switched on make sure the STANDBY switch is
in the Standby position. Wait at least 30 seconds and then flip the STANDBY switch to the ON
HI VOLTS
ON
AC MAINS
ON
position. This prevents tube problems and increases their toneful life substantially.
PAGE 11
CONTROLS:
A.C. MAINS: (power on)
This switch deliv ers the A.C. po wer to your ne w
must be connected whenever possible to avoid injury to the user as well as to the unit) and that the proper voltage is present. Follow
HI VOLTS
ON
Now that we have reviewed the Channels and their Modes we are ready to go aft and check out the treasure chest of features that ride
the Rear Panel.
AC MAINS
ON
(Continued)
the cold start procedure described in the ON/ STANDBY section above when po wering up your
new
Road King
Road King
. Make sure the unit is grounded (all three terminals of the A.C. power cord
.
REST AREA
PA G E 1 2
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