Mesa Boogie Stiletto Ace User Manual

OOGIE

B

M

ESA

Owner's Manual

Hello from the Tone Farm

...You, smart player and intuitive human, have put your trust in us to be your amplifier
company. This is something we do not take lightly. By choosing this instrument to be a
part of your musical voice, you have become part of the Mesa family...WELCOME!

Our goal is to never let you down. Your reward is that you are the new owner of an amp,
bred of fine all tube heritage...benefiting from the many pioneering and patented Mesa
circuits that led to the refinement of your new model. We feel confident, this amp will
inspire many hours of musical satisfaction and lasting enjoyment. It was built with you in
mind, by players who know the value of a fine musical instrument and the commitment it
takes to make great music. The same commitment to quality, value and support we make

to you...our new friend.

Table of Contents

Precautions

Overview & Instant Gratification _________________________________________________________ 1-3

Helpful Hints _________________________________________________________________________ 4

THE MODES:

Channel 1: Fat Clean / Tite Clean / Crunch _________________________________________________ 4-5
Channel 2: Crunch / Tite Clean / Fluid Drive _______________________________________________ 6

FRONT PANEL CONTROLS & SWITCHES:

Gain, Treble / Mid / Bass ________________________________________________________________ 7-8
Presence / Master _____________________________________________________________________ 9
Rectifier Select: Diodes / Tube Rectifier ___________________________________________________ 9
Channel Select ________________________________________________________________________ 10
Output Control ________________________________________________________________________ 10
Solo Control __________________________________________________________________________ 10
Standby _____________________________________________________________________________ 11
Power: ON / OFF / SPONGY _____________________________________________________________ 11

REAR PANEL CONTROLS, SWITCHES & JACKS

Slave ________________________________________________________________________________ 11-12
Speakers _____________________________________________________________________________ 12
Channel Solo: External Switch Ports _____________________________________________________ 12
FX Loop _____________________________________________________________________________ 12-13
FX Return As A Power Amp Input ________________________________________________________ 13-14
AC Receptacle ________________________________________________________________________ 14
Fuse ________________________________________________________________________________ 14
Serial Number ________________________________________________________________________ 14
Factory Sample Settings ________________________________________________________________ 16-17
Personal Settings Page _________________________________________________________________ 18

Tube Noise & Microphonics _____________________________________________________________
Diagnosing Power Tube Failure __________________________________________________________ 19
Diagnosing Pre Amp Tube Failure ________________________________________________________ 20
Speaker Impedance Matching & Hook-up Guide ____________________________________________ 21-26
Bias Adjustment: A feature article by Randall Smith ________________________________________ 27-29
Triodes, Pentodes & Irishmen: A feature article by Randall Smith ______________________________ 30-32
Tube Task Chart _______________________________________________________________________ 33

Part Sheet ____________________________________________________________________________

19

34

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:

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.

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

WARNING: Vacuum tube amplifiers generate heat. To insure proper ventilation always make

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.

WARNING: Do not block any ventilation openings on the rear or top of the amplifier. Do not

impede ventilation by placing objects on top of the amplifier which extend past the rear edge of
its cabinet.

WARNING: Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not

place objects filled with liquids on or nearby the amplifier.

WARNING: Always make certain proper load is connected before operating the amplifier.

Failure to do so could pose a shock hazard and may result in damage to the amplifier.

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

Always insure 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.

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.

Overview:

REAR PANEL : Stiletto ACE

FRONT PANEL : Stiletto ACE

INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

GAIN

TREBLE

MID

BASS

PRESENCE

MASTER

DIODE

TUBE

DIODE

TUBE

FT

SW

CH 1

CH 2

OUTPUT

SOLO

SPONGY

ON

STDBY

ON

POWER

OFF

LEVEL

OUT

4 OHM 4 OHM 8 OHM

8 OHM

CHANNEL SOLO

EXT
SW

RETURN SEND

SEND LEVEL

WARNING: Unplug power
before replacing fuse or
removing bolts mounting
chassis

POWER FUSE

120 V~
60 Hz
4

A

4

A
SLO
BLO

FX LOOP

SPEAKER

T

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E

T

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E

C
L
N

G

A

I

N

SLAVE

LOOP IN

HARD BYPA

SS

F
U
S
E

LOOP NOTE:
First set sound with LOOP
BYPASSED. Then set SEND
LEVEL and OUTPUT to 50%
fo

r unity gain. With LOOP IN,
adjust SEND to match FX.
Use OUTPUT for RETURN
level & live volume.

ST ILE TTO

AC

E

AL L T UB E

AM PLI FI ER

H

ANDBUI LT IN PETALUMA, CALIFOR NIA

®

®

NORMAL

Instruction Manual

Congratulations on your choice of the ACE as your amplifier and welcome to the MESA/Boogie Family!

This design represents our experience gained over the last several decades hand-building all-tube, high performance amplifiers and
showcases ultimate tone and versatility served up with intuitive simplicity.

We wish you many years of inspired enjoyment from your new instrument and feel confident that it will exceed your expectations right
away. And as your musical journey unfolds, so will your ACE, proving its lasting value as it supports your musical growth for years
to come.

While the Stilettos arethe first amplifier in the
with the patented features and refinements than its
and testing of the available ‘34‘s was incorporated into the long process of R&D to ensure reliable performance while we were extract
ing our measure of this revered tubes’ golden elixir of harmonic bliss.

The ACE delivers all the vintage voodoo power-clip characteristics of the best classic British EL34 amps, and yet goes far beyond
those gems in terms of gain, expression, nuance and flexibility to put a new standard in place in the realm of EL Based circuits.

We begin with the straightforward 2 Channel platform that presents everything in a one glance, confidence inspiring visual tour of the
Front Panel. All the controls you need and nothing more. A closer look reveals two sets of mini toggles adjacent to the input GAIN
Control, one 3 position for each Channel, responsible for choosing one of 5 incredible Modes (CRUNCH appears in both channels).

MESA Family that features exclusively the EL34 type power tube, it is no less endowed

MESA siblings utilizing 6L6 type pentodes for power production. Years of scrutiny

-

PAGE 1

Overview:

(Continued)

The Preamp MODES: In Channel 1 the choices are grouped in reference to gain regions

CHANNEL 1

CHANNEL 2

INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

T

I
T
E

T

I
T
E

C
L
N

G

A

I

N

INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

T

I
T
E

T

I
T
E

C

L

N

G
A

I

N

usually associated with Rhythm styles; FAT CLEAN, TITE CLEAN and CRUNCH.

The beauty of FAT CLEAN re-educates EL aficionados used to living with clean “inputs” that are no more than

upstream patch points. Satisfactory, though un-inspiring, we choose to switch in an entire clean-optimized preamp dedicated to spar

kling highs, sweet mids and breathing lows. The FAT CLEAN mode invites a refreshing, re-defining look
at the expectations of clean sounds in this genre of amplifier.

The more stripped TITE CLEAN mode trims away some of this low end response and leaves you with
an urgent voice where mids and highs dominate and lows support. This difference is perfect when darker
mahogany guitars are in use or, in the studio when you need a part to sit in a mix without occupying
too much space.

From here gain is increased dramatically to produce CRUNCH, an essential, quintessential mode which delivers the spectrum from
classic Brit break-up, through tight Southern Crunch and eventually to a classic So. Cal. Grind. This mode is so flexible and it’s gain
region so inherently right for so many styles, that we repeated it as an option in Channel 2.

This channel begins its odyssey into the realm of gain hellacious with an ingenious, yet common sense duplication
of the CRUNCH mode found in Channel 1. This scheme proves invaluable, as this versatile mode tops-out at the onset of saturation,
offering up a wide and usable range of medium gain. Not just great for rhythm playing, CRUNCH reveals a whole world of articulate,

earthy solo sounds that leave the vintage or modified circuits seeming inadequate, if not overpriced.

-

Next, the TITE GAIN mode steps into the
tion of the classic Brit sound that has been fortified with additional gain and classic

MESA frontier of lead voices with a new and blistering rendi-

Boogie focus. This

new sound adds a searing harmonic blade to the mid-focused, chest thumping hit so prevalent in the
U.K. based circuits and creates an addicting-to-play solo voice that stands proud alongside the likes of
our fabled Recto, Mark I

and Mark IV.

And finally we come to FLUID DRIVE, the highest gain of the 3 modes in Channel 2. This self-descrip
tive mode adds yet another triode stage to the preamp, unleashing a single note voice of unprecedented liquidity. Notes flow out in a
river of harmonic complexity while retaining authority and depth, spread and focus. Here, the attack of the note is transformed into an
instantaneous symphony as it is morphing from an absolute bold event in time - to a spinning wheel of vowel sounds as the envelope
changes during decay in response to the rise and fall of input voltage generated by your picking technique.

All this preamp tone and flexibility is only half the story and magic though it is, the power section of the
making what we call a high performance amplifier. With the

ACE you have options to tune the power to the sound you are searching

ACE plays an equal role in

for and these choices point at crucial differences in power response that turn good tone into classic tone.

-

PAGE 2

Overview:

(Continued)

The ACE incorporates our patented switchable RECTIFIER ™ feature. This is a Channel

INSTANT GRATIFICATION

INSTANT GRATIFICATION

Ch1 Neck / Ch 2 Rear

Rear Humbucker

INSTANT GRATIFICATION

INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

GAIN

TREBLEMID

BA

SS

PRESENCE

MASTER

DIODE

TUBE

DIODE

TUBE

FT
SW

CH 1

CH 2

OUTPUT

SOLO

SPONGY

ON

STDBY

ON

POWER

T

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E

T

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E

C
L
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G

A

I

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INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

GAIN

TREBLEMID

BA

SS

PRESENCE

MASTER

DIODE

TUBE

DIODE

TUBE

FT
SW

CH 1

CH 2

OUTPUT

SOLO

SPONGY

ON

STDBY

ON

POWER

T

I
T
E

T

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C
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G

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Assignable feature that appears as two toggle switches located on the Front Panel. These switches allow selection of a Rectifier style

- Tubes for a saggy, compressed feel or Silicon Diodes for tight, punchy response. This power-vibe flexibility allows you to zero in on
the sound as well as how that sound feels to play.

To further tune the power style, we’ve included our patented

BOLD/SPONGY ™ switch. This useful feature allows you to choose

between the full 117 volts of incoming AC LINE voltage in BOLD or, use the SPONGY setting which acts as a built-in variac to knock
the incoming line voltage down to a brown-out like condition. This voltage difference also produces a dramatic difference in the way
a sound feels to play as well as accentuating different frequencies.

An Effects Loop BYPASS switch allows you to bypass the Loop and all associated circuitry (including the OUTPUT and SOLO Controls
which are part of the Loop Return stage) to produce a pure, unaltered signal path for studio work or any time you want the maximum
raw urgency of this shining tone blade. When you do choose to switch in the transparent Effects Loop, what little difference you might
notice is quickly forgotten with the usable power of the OUTPUT and SOLO Controls coming on line. The OUTPUT allows you to
adjust the overall level of both Channels with one knob, while the patented SOLO™ feature allows you to preset an additional output
level control and switch to it any time for a volume boost during live performances.

A SLAVE OUTPUT with level control is also provided to accommodate using the

ACE as a master head in a large rack system

where it can be used to drive processing or additional power for large venues.

Two 4 Ohm and two 8 Ohm SPEAKER OUTPUT jacks enable you to match the impedance of most any cabinet configuration you
wish to use.

Now that we have a good idea of the features of your new

ACE, let’s plug in and check out a quick demo setting to familiarize you

with the basic operation of the modes. You will find an expanded group of possibilities in the rear of this manual under SAMPLE SET
TINGS for your enjoyment at a later time.

-

Armed with a new perspective of just how incredible your new ACE really is, we can now take a closer look at each of the
controls and how they interact to produce your signature sound.

PAGE 3

HELPFUL HINTS:

1.) The OUTPUT Control works only when the FX LOOP is activated. Switch out of the Loop Bypass position on the Loop Assign

FRONT PANEL: Controls & Features

The MODES: Channel 1

INPUT

FAT

CLEAN

T
I
T
E

C
L
N

switch to activate the FX Loop and bring the OUTPUT Control on line..

2.) The SOLO Control is activated when the Footswitch is connected to the FOOTSWITCH jack on the Rear Panel and the FX LOOP
is activated. When the footswitch is not connected the SOLO Control will have no effect on the volume level.

3.) When the FX LOOP is activated it is normal to hear the volume drop a bit. Use the SEND Level Control on the Rear Panel even
if no processor is patched in to bring the volume level back up to approximately unity gain.

4.) The SOLO Control can be set for a volume level above that of the OUTPUT Control setting. It will not allow a setting below that
of the OUTPUT.

5.) The GAIN and TREBLE are the most powerful controls in both channels. They should be used with taste and you will find that
the best sounds are found with these two controls set somewhere in their middle regions. Avoid setting the TREBLE above 2:00 when
the GAIN is maxed as the possibilities for noise and squealing from microphonic preamp tubes increases dramatically.

6.) Choosing the proper Rectifier mode with the RECTIFIER SELECT switch located on the Rear Panel that best suits the sound style
you are trying to dial can greatly enhance the performance. TUBE RECTIFIER produces a more elastic feel and softer clipping
characteristics which is especially great for single note soloing. SILICON DIODES produce more power and headroom and can
also track better for extreme gain settings while staying tighter in the bottom end.

7.) The PRESENCE Control determines a lot 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 Channel 2. Above 12:00 it starts adding cut and tightness in both channels.

Hopefully these tips have helped you in getting ready to enjoy a walk on the wild side and by now you should be getting pretty familiar
with your new

ACE so lets move on to understanding and reviewing the rest of the features that are instrumental in helping to

shape your sound and tone.

As mentioned in the Overview, each of the ACE’s two channels contain three modes of opera-

tion. These are laid out, in terms of their gain structure, such that as the mini toggle is switched down, the gain increases. The one
exception is in Channel 1, when in TITE CLEAN (middle position) gain in the bottom end is reduced.

Channel 1 is dedicated to a range of gain more suited to Rhythm playing with two modes that are lower
gain - aimed at clean chording, and one medium gain mode aimed at crunch rhythm styles.

FAT CLEAN (toggle up) walks the line between many of our previous clean circuits to produce a mode
that can be as versatile as it is vintage. It traces its lineage back to the best of the Black Face era and

pays tribute to the bloom and lushness of those American classics - while at the same time retaining the boldness, shimmer and
punch of the early Mark I Boogies.

These qualities, when combined with the classic EL34 top-end sting and mid attack found in some of the best Brit circuits, unveil a
clean mode that resonates with players of both camps and brings a new and exciting personality to the world of rhythm sounds. This
mode works extremely well for clean soloing with an emphasis on rich bass frequencies that fill-in and round-out notes in the higher
registers, giving even the B and E strings body and depth high up on the neck.

PAGE 4

FRONT PANEL: Controls & Features (Continued)

The MODES: Channel 1 (Continued)

Because the voicing of this mode is heavy in these rich lows, it will be necessary at

INPUT

FAT

CLEAN

T
I
T
E

C
L
N

INPUT

FAT

CLEAN

CRUNCH

T
I
T
E

C
L
N

times to reduce the setting of the BASS Control, especially when higher settings of the GAIN Control are to be used. Some amazing
clipped or pushed sounds are possible with the FAT CLEAN mode by cranking the GAIN and setting the BASS at 0 (7:00/off). Here, an
addicting smoothness is always present because the sub-low frequencies are allowed to pass freely and the entire spectrum warms
up and exudes soulfulness. Even when the BASS Control is used to trim away some of these lows, a fat smooth voice remains that
you will find useful for many applications.

TITE CLEAN (toggle in middle position) is the opposite in every sense. This mode is stripped of sub-lows and lower mids creating a
focused, immediate attack characteristic that can be described as unabashed forwardness. TITE CLEAN works great for chording

and parts played here will sit proudly and uniquely in a mix…even a complex one, because they require
little space to tell the story loud and clear.

When clipped, this mode behaves in a brash, urgent manner and with more bass frequencies trimmed

early on in the preamp, the BASS Control may be used to dial in tighter lows that compliment the top-end
perfectly. In fact, for clipped sounds in the Rhythm Channel, TITE CLEAN would almost always be the preferred choice. The balance
in all frequencies will result in the most cohesive distortion character, where the added gain stays more glued to the notes. Be sure to
check out using TITE CLEAN in combination with the BOLD/SPONGY switch set to SPONGY and the TUBE RECTIFIER selected
on the Rear Panel for some truly amazing power clip sounds.

CRUNCH (toggle down) is the ultimate in tight, urgent grind. The added gain in this mode, combined with immediate attack and a
brash attitude, makes this mode the old school Rock ‘N Roll dictionary of Brit inspired guitar sounds. This range of “medium gain” is

so versatile that you could use this mode alone for years, finding both great rhythm and solo sounds that

are accurate, articulate and expressive.

Because the CRUNCH mode is not as saturated, even at a maximum setting, as the two high gain

modes in Channel 2, it responds very well to adding additional gain by utilizing the switchable power
features. This mode spreads the perfect glazing of gain to give the right amount of attitude without covering up the natural character
of your guitar.

The inherent chirping harmonics are further enhanced by switching down to SPONGY which emphasizes top end shimmer while
scooping out a nice narrow slice of midrange. Choosing the TUBE RECTIFIER sags the power down even further and adds a creamy,
legato feel - making single note playing effortless, while removing any hint of harshness and elevates this mode to an incredible solo
voice.

The incredible expression and versatility of the CRUNCH mode prompted us to provide a duplicate of this sound among the choices
in Channel 2. After becoming familiar with the many uses for CRUNCH, you will quickly discover the value of being able to use it for
one of two scenarios; either two slight variations of this mode set for similar gain ranges (using the two individual MASTER Controls
for levels) or, vary the gain range and use one for rhythm and one for soloing.

However you wish to dedicate your Channels, you will likely find CRUNCH to be one of the most important and essential modes in

ACE.

your

Now that we have reviewed the modes in Channel 1 and understand the voicings, let’s move down to Channel 2 and get to know the
modes in your

ACE dedicated to higher gain soloing.

PAGE 5

FRONT PANEL: Controls & Features (Continued)

The MODES: Channel 2

FT.SW

CRUNCH

FLUID
DRIVE

T

I
T
E

G
A

I

N

FT.SW

CRUNCH

FLUID
DRIVE

T

I
T
E

G
A

I

N

FT.SW

CRUNCH

FLUID
DRIVE

T

I
T
E

G
A

I

N

CRUNCH: See the description of this mode under Channel 1 as it is duplicated here in Channel 2. Don’t underestimate this mode

for its soloing potential. Despite the lower gain range, it has virtues for lead work the other higher gain
modes are missing due to their more saturated character.

TITE GAIN (toggle in middle position) takes the classic EQ curve of CRUNCH with its bold, forward mid attack and chirping, articulate
top and kicks the gain up several notches to create the ultimate high gain lead sound with an unmistakable Brit character. Adding com

pression and sustain to an already classic sound, the extra gain allows TITE GAIN to sing with conviction
and authority and yet it still retains all the articulation and accuracy of its lower gain cousin CRUNCH. For
those who have grown up on classic British circuits or rely on them for a large part of their style,

TITE

GAIN is a single note tone fantasy that will elevate your soloing to new heights. The less resistant feel

on the strings will have you burning…smashing your previous metronome boundaries with an effortless
flow and sense of confidence you have likely never experienced.

-

For de-tuned moshing there may be no equal to TITE GAIN (except of course for our

Dual and Triple Rectifier Solo Heads ).

TITE GAIN is tailor made to keep the low frequencies in line and tracking tight. The obvious mid range focus and lack of sub-lows here
ensures that your de-tuned groves will cut with a ferocious intensity and stop on a dime when you cut off the notes. Tight, searing, and
honed to a glistening stainless polish, the ACE’s TITE GAIN is the ultimate blade in the world of modern hyper-gain rock.

FLUID-DRIVE™ oozes with smoldering, layered harmonics and represents the highest gain mode in your new ACE. Its namesake
pays tribute to the type of playing that it shines for, and like TITE GAIN, it will have you breaking all tempo barriers in no time with its
consistent string resistance and easy-to-play-feel across the entire range of the instrument.

Compressed and fat, smooth and vocal,

FLUID-DRIVE is the ultimate voice for memorable melody lines
or liquid lead lines that drip with soul. This is often the perfect compliment to other guitarists in the band
or for when you need your lines to have added girth. No British circuit has ever come close to delivering
a solo sound with this depth, breadth or intensity through a power section driving the EL34, and this
catapults the genre into a new realm of single note solo mastery.

For high gain chording or rhythm work,

FLUID-DRIVE can produce a wall of layered harmonics that can grind with the best of the

ACE’s vintage sounds and is definitely worth auditioning for thicker rhythm parts. You will want to dial these two regions more

carefully and possibly lean a little harder on the TREBLE and MID to achieve the best balance and retain the tightest attack.

Hopefully the descriptions of the Modes and their possible applications have given you some insight as to how to configure your
Channels to give you the greatest flexibility. Now let’s move to the rest of the Front Panel and check out the controls and switches.

PAGE 6

FRONT PANEL: Controls & Features (Continued)

While you have most likely taken your new ACE for an inspiring spin around the world of high performance EL34 tone, we encourage

GAIN:

INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

GAIN

T

I
T
E

T

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C
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you to read through the Control section to learn how these interactive controls can shape your dream tone. Many hours were spent
making sure they are powerful, musical and that they will deliver all the shaping power you’ll ever need to craft a signature sound all
your own.

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

ACE is really two separate multi-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.

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

ACE, 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.

1) 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 both channels. This region
contains many of the

ACE’s 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 satura
tion and therefor sustain, it also compresses and softens the attack characteristics.

NOTE: Due to the

ACE’s 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. Your tubes are warranted 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 with the Tone Controls at their maximum settings!

-

If you must for a specific part or at very low volumes, back down the TREBLE and PRESENCE Controls. Your
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
maximum shaping power - allowing you to dial virtually any sound you desire.

GAIN Control in its middle region. Here the Tone control string is very active and provides

PAGE 7

ACE was designed

FRONT PANEL: Controls & Features (Continued)

TREBLE:

As in most tube guitar amplifiers, the TREBLE Control (in both channels of your ACE ) is the most powerful of the

MID:

BASS:

GAINTREBLE

INPUT

FT.SW

FAT

CLEAN

CRUNCH

FLUID
DRIVE

CRUNCH

T

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T

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C
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N

G

A

I

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GAINMID

TREBLE

BASS

TREBLE

MID

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 respective controls. Like

most of the controls on your

ACE, 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 MIDDLE and BASS Controls.

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. In CRUNCH, the

TREBLE Control can be used to dump extra gain into the mix.
This is especially effective 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 CRUNCH should not be set much above 2:30 to avoid unwanted microphonic tube problems.

The MID 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

ACE. It is capable of changing the feel dramati-

cally as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.

Many players tend to lean in the direction of lower
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 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 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
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.

Last, but not least in the string of tone controls we come to the BASS . This control works similarly in both 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 and within the different modes. Like the MIDDLE Control, it falls in line signal-wise
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 neutral starting point for further
tweaking.

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MIDDLE Control settings (7:00 - 11:00) where a

MIDDLE Control

after the TREBLE