M
ESA
OOGIE
B
STUDIO
Owner's Manual
CALIBER
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
M
The Spirit of Art in Technology
Thank you for trusting MESA/Boogie to be your amplifier
company. We wish you many years of toneful enjoyment from this
handbuilt all tube instrument.
ESA
B
OOGIE
Hello from the Tone Farm...
YOU, the smart player and all around intuitive human, have put your trust in us to be your
amplifier company. This is something we do not take lightly. Our reward is that we've made
a classic amplifier and by choosing this amplifier, you have become part of the MESA
family...Welcome! Our goal is to never let you down. Your reward is that you are now the
owner of an archetypical guitar amp bred of fine all tube amp heritage...benefiting from the
many patented pioneering MESA/Boogie circuits that led to the refinement of your new
instrument. Feel confident, as we do, this amp will inspire many hours of musical satisfaction
and lasting enjoyment. It was built with you in mind, by players who know the value of a
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.
Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
Do not expose amplifier to moisture, rain or water, direct sunlight
or extremely high temperatures.
Always insure that amplifier is properly grounded.
Always unplug AC power cord before changing fuse or any tubes.
When replacing fuse, use only same type and rating.
Avoid direct contact with heated tubes.
Insure adequate air circulation behind amplifier.
Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power
supply specifications listed on the rear of the unit.
If there is any danger of lightning occurring nearby, remove the
power plug from the wall socket in advance.
To avoid damaging your speakers and other playback equipment,
turn off the power of all related equipment before
making the connections.
Do not use excessive force in handling control buttons, switches
and controls.
Remove the power plug from the AC mains socket if the unit is to
be stored for an extended period of time.
Do not use solvents such as benzene or paint thinner to clean the
unit. Wipe off the exterior with soft cloth.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before
removing chassis.
PERMANENT HEARING DAMAGE!
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.
STUDIO
CALIBER
TABLE OF CONTENTS
Page #
Precautions
FRONT PANEL Description and Usage
Gain
Treble
Mid
Bass
Presence
Reverb
Master
Output Level
Toggle Switches
Power
0
1
2
3
3
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4
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5
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REAR PANEL Description and Usage
Fuse
Recording
FTSW Reverb
Send and Return
FX Mix
Silent Recording (speaker mute switch)
Slaving
Speaker
Sample Settings
(impedance matching)
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7
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STUDIOCALIBER
Operating Instructions
Overview:
Your STUDIO CALIBER amplifier was designed to deliver maximum performance in a format based on simplicity. Its easy to
dial nature allows each of the two channels to deliver a wide range of sounds in clean and overdrive styles. The Dual Caliber uses
two EL84s as power tubes to fuel its healthy twenty watt power section. We are pleased by its surprising headroom, yet truly
musical "clipability" when pushed. The STUDIO CALIBER's pre-amp was no afterthought as you may have deduced by the
six 12AX7s tucked snugly away under the swing away tube clamp. Two separate sets of tubes are used to accomplish the
Rhythm and Lead channels. It’s really like having two separate amplifiers built into one chassis. Ultimate flexibility is achieved by
providing two complete sets of Tone and Master controls. In the STUDIO CAL two different sounds can be switched between
without compromising tone or levels.
Looking at the rear panel will assure you that all interfacing needs have been covered. A parallel effects loop with a mix control
provides tone insurance for even those questionable effects. A recording circuit dialed for direct to board sessions provides
accurate reproduction of the STUDIO CALIBER's pre-amp. When the session goes late into the night, the silent recording
Speaker Mute switch comes in real handy. To use the STUDIO CAL in larger rack systems, or to interface to other power
sections, the Slave Jack and Level Control is a welcome feature. Three speaker jacks (one 8 ohm, and two 4 ohm) are provided to
ensure the proper impedance match to many types of speaker enclosures.
As you can see, the new STUDIO CALIBER provides all the features any demanding pro could need and at the same time
remains simple to operate.
FRONT VIEW
INPUT
FOOT
SWITCH
REAR VIEW
1/2 A
FUSE
1A
1/4
GROUND
A OFF B
STUDIOCALIBER
0
10
1
2
3
4
6
5
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
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STUDIOCALIBER
DYNA WATTPOWER
RECORDING
FTSW REV
SEND
RETURN
0%
FX MIX
%
00
1
MUTE SPKR ON
SILENT RECORDING
0
10
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OUTPUT
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6
LEVEL
TM
HANDBUILT IN PETALUMA
CALIFORNIA, USA
STUDIOCALIBER
ON ONRHYTHM
STANDBY POWERLEAD
SLAVE
SPEAKERS
8 OHM 4 OHM 4 OHM
PAGE 1
FRONT PANEL:
First familiarize yourself with the layout of the front panel and locate the Lead / Rhythm switch on the
right side of the chassis, next to the Standby Switch. This toggles you between the top (Rhythm) Channel and the bottom (Lead)
Channel. If you don’t have the Rhythm/Lead Footswitch connected, this switch will activate the channel switching function. Before
we get too critical about each control, let’s audition the two channels with a basic clean setting in the Rhythm Channel and a fairly
high gain overdriven sound in the Lead Channel.
POWER-UP: Connect your favorite guitar to the instrument input jack. Turn the power switch "On" while leaving the standby
switch set to "Standby". It’s always a good idea to practice this start up procedure as at least 30 seconds of warm-up time lessens
the shock on cold power tubes, thus prolonging their life substantially. Next, using the example below as a guide, set the controls
as illustrated and turn the Standby Switch to the On position to listen to the two distinctly different channels using either the
footswitch or the Channel Select toggle switch on the right side of the front panel.
INPUT
FOOT
SWITCH
0
10
1
2
3
4
6
5
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
0
10
1
2
3
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5
0
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OUTPUT
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LEVEL
STUDIO CALIBER
ONRHYTHM
STANDBY POWERLEAD
Again, these are merely examples of the two channels. Experimentation leads to finding many different sounds in each channel,
and understanding the controls and the way they interact can make this much easier and more fun.
Now that you have heard the STUDIO CALIBER ’S two channels, lets move on to understanding the controls and their
interactive roles in achieving the sounds that you want to hear.
CONTROLS:
GAIN:
INPUT
FOOT
SWITCH
great sounds can be found in the STUDIO CAL by setting the GAIN Control moderately, especially in the LEAD Channel. For
example, somewhere between thru . In the RHYTHM Channel, try setting this control somewhere between through
u Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occurring, while at the same
.
8
time making the two channels easier to balance in volume and effects send strength.
This is by far the most powerful control in each channel. It not only determines the overall gain amount, shape and
sensitivity of the channel...but it is also a powerful Tone control. Generally speaking, whatever is
4
dialed here ultimately determines the channels personality. Set low, it allows cleaner, brighter
sounds with enhanced dynamic response, especially in the higher frequencies. Set high, the
GAIN
4
whole personality of the channel becomes darker, fatter and more overdriven. We worked hard
to make sure that the entire range of Gain available is usable in the STUDIO CALIBER and more
importantly, musical. Don’t think for a moment that this simple one knob layout limits you in any way in
regards to the amount and texture of gain that is available. Long neurotic hours were spent to ensure
that the ranges of gain were stylistically accurate. It’s probably a good time to mention that most of the
2
6
3
PAGE 2
TREBLE: As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. Its setting
on the STUDIO CALIBER determines the blend and strength of the MIDDLE and BASS Controls. Set high, it is the
INPUT
5
dominant control, minimizing the amount of MID and BASS that would otherwise be
possible in the mix. Set low, the TREBLE becomes the recessive control and a warmer,
darker blend is produced. Dial with care. Subtle tweaking of this control tends to produce the
FOOT
SWITCH
GAIN TREBLE
5
best results.
MIDRANGE: Through daily tone dreaming, the "if-only" design dictum led to the dial-in-gain boost. In the STUDIO CALIBER
an over the top crunch sound was made possible by the inclusion of the RHYTHM Channels dual purpose MID Control.
INPUT
SWITCH
2
0
increase the MID to and above, you will hear the lower Mids getting more pronounced
and fatter. When the Mid Control is set at about the MID leaves behind the old
GAIN TREBLE MIDFOOT
5
notion of being a tone control and becomes a truly usuable gain control. This
upper range is a smokin’ addition to the RHYTHM Channel’s GAIN Control for all kinds of
3
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6
From to about the taper is adjusted to act as a very effective MID Control. As you
higher gain rhythm sounds. Try the MID set high and the GAIN Control at about
6 for a cool blues solo sound. "Dime" the MID for a grinding crunch rhythm sound.
7
6
If this still isn’t crazy enough for you...Max the GAIN and TREBLE Controls and set the
PRESENCE Control to and plug into a MESA 4x12 with some Celestion Vintage
0 1
30’s or 25’s. This should be sufficently heinous for even the sickest crunch fiends. As
you can see, the versatility that this dual purpose Mid Control lends to the RHYTHM
Channel greatly expands its usefulness as both a clean and overdrive channel.
3
NOTE: The lower region of the MID Control determines midrange punch and boldness in lower gain sounds and a
0
smooth "vocal like" blend in high gain sounds. It can be very effective acting as a "cut through the band control" in certain
situations. Dial to taste, remembering that the setting of the TREBLE Control greatly effects this control’s strength.
BASS: This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE Control.
It should be set with moderation, as extreme settings in either low or high directions can produce an unbalanced tone. Be
INPUT
FOOT
SWITCH
GAIN TREBLE MID BASS
6
5
NOTE: The settings as shown above may vary with the amount of Gain and Treble that you have dialed up. Again,
experimentation is encouraged!
especially careful in higher Gain settings of either channel. Too much BASS will
cause a flabby unfocused sound that can’t be dialed out because excessive
BASS has been introduced to the pre-amp in the early stages. Try setting the
BASS to for clean sounds in the RHYTHM Channel and or below when
6
4
dialing up high gain overdriven sounds in this channel. In the LEAD Channel,
try setting the Bass somewhere between and .
3
6
PAGE 3
PRESENCE: The PRESENCE control in both channels attenuate the high end and control dynamic compression in the power
section. High settings produce more sparkle, cut and lend a more open quality to the Channel. Low settings of the PRESENCE
INPUT
3
Control compress the sound and enhance the more vocal like qualities
of single notes.
FOOT
SWITCH
GAIN TREBLE MID BASS PRESENCE
2
This control can also produce a fatter, warmer character, especially in
the LEAD Channel. Lower Treble settings, combined with low
Presence settings produce the richest, roundest lead sounds. Try
setting the RHYTHM Channels’ PRESENCE Control at around or
6
for for the sweet blend of sparkle and cut. This range in the RHYTHM
5
Channel also tends to give the impression of more headroom. Try a
LEAD Channel PRESENCE Control setting of to start with and
3
adjust to taste.
NOTE: Avoid setting the LEAD PRESENCE Control to when high Gain and Treble settings are in use. This reduces the
10
likelihood of annoying microphonic tube problems.
REVERB: The STUDIO CALIBER has an individual REVERB Control per channel. This enables different amounts of the
rich ALL TUBE reverb to be mixed with the dry signal of each channel. It is normal for extreme settings of the REVERB Control to
INPUT
FOOT
SWITCH
3
GAIN TREBLE MID BASS PRESENCE REVERB
3
slightly alter the character of the channel as the voicing of
the reverb circuit becomes more dominant in the mix.
MASTER: The individual channel MASTER Controls serve three purposes in the layout of the STUDIO CAL. FIRST: They
they serve as level balancing controls for each of the two channels. This enables a wide range of front end gain settings to be
INPUT
4
matched to a given listening level and the level of
the other channel. SECOND: They act as effects
send controls, for each channel, in the effects loop.
FOOT
SWITCH
GAIN TREBLE MID BASS
PRESENCE
REVERB MASTER
4
As with many of the controls on the STUDIO
CAL, the best results for balance and tone are
usually found in the medium range of this control.
THIRD: The Master Control is the Recording jacks’
send level control.
When using the direct Recording jack found on the rear panel to interface directly to a mixing board or recorder, this control will
determine the amount of signal you will be sending via this jack. In this application it is usually best to start with the MASTER
Controls set to and gradually increase them to the proper level. This minimizes the possibility of blowing speakers or eardrums
0
in the event the engineer has an extremely sensitive input headroom setting in place at the console.
PAGE 4
MASTER (continued)
NOTE: When trying to use your STUDIO CALIBER at extremely low volume levels it will be
necessary to reduce the far left Gain control. Once the Masters and Output Levels has been reduced to roughly 1.5. , reducing
the Masters or Output Level below this point causes phase interaction that prevents a clean signal from passing through this circuit
junction. If you must use your STUDIO CAL at whisper levels to practice late at night etc...get used to reducing the Gain as
well as the Masters and Output levels. This effect is most noticeable in the Rhythm channel set for a crystal clean sound. In the
Lead channel set for a high gain sound the interaction effect is greatly reduced and virtually unnoticeable.
OUTPUT LEVEL: This lonely knob is the STUDIO CALIBER's final Output knob or overall master. After the relative
balance of the two channels has been set with the channel Master controls, use this Output control to increase or decrease the
listening volume. This is also the effects return level control, a
ON ONRHYTHM
3
point we just thought you should know. Designed this way, it
simply makes for a simpler set up and one less knob to deal with
when interfacing your favorite effects. Optimum setting depends
on the size of the room you wish to rock, but generally the
STANDBY POWER
OUTPUT
LEVEL
LEAD
STUDIOCALIBER
STUDIO CAL sounds best with a setting somewhere between
a and on the Output Level control.
2
6
TOGGLE SWITCHES
RHYTHM / LEAD:
This
there isn’t one handy.
ON / STANDBY:
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 switch the Standby to the "On"
position. This prevents tube problems and increases their toneful life substantially.
POWER:
This switch delivers A.C. power to the STUDIO CALIBER . Make sure the unit is grounded (All three terminals of
the A.C. cord 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 the cold start procedure described in the above section On / Standby when powering up your STUDIO CAL.
INPUT
FOOT
SWITCH
0
10
1
2
3
4
5
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
0
1
2
3
4
5
1
2
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toggle calls up one channel or the other and can take the place of the channel select footswitch when
Leave switch to the Standby position during power -up for at least 30 seconds.
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OUTPUT
7
LEVEL
STUDIO CALIBER
STANDBY POWERLEAD
ONRHYTHM
PAGE 5
REAR PANEL:
FUSE:
1/2 A
FUSE
1A
1/4
This is the A.C.’s (Alternating Current) main fuse and provides electrical current protection from outside A.C.
fluctuations, as well as power tube failure damage. Should the fuse blow, replace it with the same rating in a slo-blo
type package. The domestic U.S. version requires a 1
1/4 AMP slow blo fuse. A power tube short or failure is often the
cause of a blown fuse...Follow the cold start procedure mentioned in the On/Standby switch section and watch the
tubes as you turn the Standby to the On position. If a power tube is going bad or is arcing you will see it! Turn the
Standby Switch to Standby immediately and replace the faulty power tube and the fuse if necessary. If you see nothing
abnormal as you lift the Standby, it is possible that a power tube shorted temporarily and blew the fuse. If this is the
case it may work again normally. To be extra safe you may want to replace both power tubes in the "shotgun"
troubleshooting tradition and save the replaced set as spares.
Like tires on a car, spare tubes are always a measure of good insurance. Your STUDIO CALIBER was carefully
NOTE:
constructed with reliability in mind! Given the proper care and maintenance, it will deliver years of trouble free service. However,
any pro guitarist who is out there gigging will tell you; spare tubes are a must for the fabled cord bag and may someday be worth
their weight in gold. Spare fuses are also a very easy way to ensure an uninterrupted performance.
RECORDING:
This jack provides direct-to-console interfacing for recording or sound reinforcement applications. It is a circuit
dedicated to reproducing the roll off that occurs in the output section with a
1/2 A
FUSE
1A
1/4
RECORDING
FTSW REV
SEND
RETURN
0%
FX MIX
00
1
speaker connected. With accuracy, it faithfully captures the STUDIO
CALIBER's soulful character. The send level strength is determined by the
Gain and Master Controls. From this recording jack, adequate signal level will
be available to you for most of your recording needs and live performances.
%
FTSW EQ/REV:
1.25A
FUSE
2.5A SB
RECORDING
FTSW REV
This 1/4" Stereo jack allows you control of the Reverb remotely when a Mono cable and MESA Reverb
Footswitch are connected. This footswitch is an option and can be ordered by calling us direct, or by
contacting your nearest MESA / Boogie Pro Center.
PAGE 6
REAR PANEL: (continued)
FX LOOP: SEND / RETURN:
1.25A
FUSE
2.5A SB
FX MIX:
1/2 A
FUSE
1A
1/4
RECORDING
FTSW REV
This control determines the dry/wet blend of the FX Loop signal in relation to the unaffected signal. Set to 0% you will
RECORDING
FTSW REV
SILENT RECORDING:
1/2 A
FUSE
1A
1/4
RECORDING
FTSW REV
SEND
RETURN
SEND
RETURN
This rocker switch which is located down under the chassis and selects between the live "Speaker
SEND
RETURN
These two 1/4" jacks are the patch point for external effects. The Effects Loop is wired in
parallel with the normal signal. Connect the Send jack of the STUDIO CAL to your
Effects Input jack. Connect the Return jack of the STUDIO CAL to the Output jack of
your effect unit. The Effects Loop is a patch point between the pre-amp and power section,
therefore the Return jack can double as a "Power Amp Input" jack. When the Return is
used as an input, the Presence control of the active channel and the Output Level control
are being utilized, all other controls are inactive.
experience only the dry signal (no effect) and at a setting of 100% the entire
signal will be wet (total effect.) For the best results...Set the mix of your effect
to 100% wet. Then dial in the amount of effect that you wish to hear, starting
at 0% with the FX Loop Mix Control. The drier (closer to 0%) signal you use,
0%
FX MIX
the better your tone should be. This parallel type FX Loop allows the amplifier
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to retain its purity with the smallest amount of degradation possible due to
possible effect impedance mismatching.
On" setting and the silent "Speaker Mute" setting. This is a
perfect solution for all-nighters! This switch mutes all of the
signal at the power section driver stage, removing the need
for a speaker load IN THIS POSITION ONLY!
%
00
1
0%
FX MIX
MUTE SPKR ON
SILENT RECORDING
NOTE: When this switch is set to the "ON" position, a
speaker load must be maintained by either a load
resistor of some type or a speaker itself. Failure to
comply with this instruction could result in major damage to
the amplifier. Leave your speaker connected.
SLAVE:
SPEAKERS:
8 OHM 4 OHM 4 OHM
This 1/4" jack and control provide a signal derived from the speaker jack. Perfect for using the STUDIO CALIBER
SLAVE
Sensitivity to speaker mismatching in regards to ohmage differences is low, hence no damage to the amplifier
SPEAKERS
as a master pre-amp, or additional power amps may be connected for more power when needed.
Some players use this to derive an FX Send Signal and go to other amps for their wet sound.
NOTE: Once a signal is taken from the Slave, it can not be inserted back into the FX Loop Return
jack or a feedback loop will occur. Much like holding a microphone into the PA system’s cabinets...a
loud high pitched squeal will occur.
will occur. However, very low ohmage loads will cause the power tubes to wear faster. When using
two 8-ohm speakers, connect them both to the 4-ohm outputs provided (this will equal a 4 ohm load.)
PAGE 7
REAR PANEL: (continued)
Some 4x12 cabinets may be 4, 8 or 16-ohms; if you are not sure of the impedance of your cabinet, you may need to remove the
rear panel to see what the ohmage of the individual speakers is. MESA/Boogie 4x12 cabinets come standard wired to 8-ohms.
They have four 8-ohm speakers wired in series parallel. Some Non-MESA 4x12 cabinets are wired 16-ohms using four 16-ohm
speakers. By wiring all four speakers in parallel, you can reduce the cabinets impedance to 4-ohms (assuming that the speakers
are 16-ohms each.) Keep in mind the greatest clean headroom is always achieved with the proper impedance loads...ie, an 8-ohm
speaker connected to an 8-ohm jack.
SUGGESTED SAMPLE SETTINGS
SAMPLE 1
INPUT
FOOT
SWITCH
SAMPLE 2
INPUT
FOOT
SWITCH
SAMPLE 3
INPUT
FOOT
SWITCH
Sparkling Clean
4
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
5
1
6
4
3
4
Pushed Bluesy Rhythm/Solo
8
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
7
7
5
0
3
4
Blues Lead
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
2
5
4
5225
3
OUTPUT
LEVEL
2
OUTPUT
LEVEL
3
OUTPUT
LEVEL
CHANNEL
STUDIOCALIBER
CHANNEL
STUDIOCALIBER
CHANNEL
STUDIOCALIBER
Rhythm
ON ONRHYTHM
STANDBY POWERLEAD
Rhythm
ON ONRHYTHM
STANDBY POWERLEAD
Lead
ON ONRHYTHM
STANDBY POWERLEAD
SAMPLE 4 CHANNEL
INPUT
FOOT
SWITCH
High Gain Lead/Crunch
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
7
5
5
5
3
3
3
3
OUTPUT
LEVEL
STUDIOCALIBER
PAGE 8
Lead
ON ONRHYTHM
STANDBY POWERLEAD
408004
601073
SWITCH pt#
(all 3)
ON ONRHYTHM
592151
POT pt#
STANDBY POWERLEAD
OUTPUT
LEVEL
703120
PILOT LIGHT pt#
STUDIOCALIBER
409108
KNOB pt#
618100
KNOB pt#
JACK pt#
618112
SPEAKERS
SLAVE
8 OHM 4 OHM 4 OHM
CALIFORNIA, USA
HANDBUILT IN PETALUMA
TM
ALL SPEAKER
JACKS pt#
610120
STUDIOCALIBER
JACK pt#
FRONT VIEW
POT pt#
POT pt#
592148
POT pt#
592148 592151 592737
INPUT
POT pt#
POT pt#
POT pt#
592739 592148 592737
POT pt#
409124
top and bottom row
KNOB pt# (all control knobs)
GAIN TREBLE MID BASS PRESENCE REVERB MASTER
FOOT
SWITCH
592737
POT pt#
592151
POT pt#
POT pt#
592739 592148
POT pt#
POT pt#
592737
POT pt#
592148 592738
POT pt#
610120
JACK pt#
408004
KNOB pt#
790342
STUDIOCALIBER
REAR VIEW
FUSE HOLDER pt#
592737
POT pt#
618100
JACK pt#
790125
FUSE pt#
DYNA WATTPOWER
1/2 A
FUSE
%
00
1
FX MIX
0%
SEND
RETURN
FTSW REV
RECORDING
1/4
1A
GROUND
600114
SWITCH pt#
SILENT RECORDING
MUTE SPKR ON
618100
618100
JACK pt#
JACK pt#
600116
A OFF B
SWITCH pt#
618100
JACK pt#
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
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