Mesa Boogie SUBWAY-WD-800 Users Manual
Owner’s Manual
Greetings from the Home of Tone®
…You, smart player and intuitive human, have put your trust in us to be your amplier
company. is is something that we do not take lightly. By choosing this instrument to be
part of your musical voice, you have become part of the MESA® family… WELCOME...
and to those of you who are already part of the Mesa family, we thank you for returning
to your roots.
Our goal is to never let you down. Your reward is that you are the new owner of an amp,
bred of ne heritage, benetting from the many pioneering and patented MESA circuits
as well as fresh cutting edge research and development eorts, leading to this new and
exciting model. We feel confident that 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 ne musical instrument and the commitment it takes to make great music.
e same commitment to quality, value and support we make to you… our new friend.
Table of Contents
PRECAUTIONS
OVERVIEW ____________________________________________________________________________________ 1-2
INSTANT GRATIFICATION _________________________________________________________________________ 3
FRONT PANEL
INPUT JACK ____________________________________________________________________________________ 3
MUTE SWITCH __________________________________________________________________________________ 3
ACTIVE/PASSIVE SWITCH ________________________________________________________________________ 3
INPUT CONTROL & O/D LED ______________________________________________________________________ 3
HIGHPASS FILTER ______________________________________________________________________________ 3-4
BASS CONTROL ________________________________________________________________________________ 4
TREBLE CONTROL ______________________________________________________________________________ 4
PARAMETRIC MID EQ CONTROLSL ________________________________________________________________ 4
PASSIVE MID CONTROL __________________________________________________________________________ 4
MASTER VOLUME CONTROL ____________________________________________________________________ 4-5
POWER AMP DAMPING CONTROL _________________________________________________________________ 5
POWER LED ____________________________________________________________________________________ 5
2 OHM LED _____________________________________________________________________________________ 5
PROTECT LED _________________________________________________________________________________ 5-6
LIMIT LED ______________________________________________________________________________________ 6
REAR PANEL
POWER SWITCH ________________________________________________________________________________ 6
IEC POWER INLET _______________________________________________________________________________ 6
OPERATING POWER REQUIREMENTS ______________________________________________________________ 6
COOLING FAN __________________________________________________________________________________ 6
SPEAKER OUTPUTS ____________________________________________________________________________ 6-7
SPEAKER IMPEDANCE ___________________________________________________________________________ 7
SPEAKER POLARITY (OR PHASE) _________________________________________________________________ 7
IMPEDANCE SELECTOR SWITCH __________________________________________________________________ 7
HEADPHONE OUTPUT ___________________________________________________________________________ 8
MUTE / PEQ BYPASS FOOTSWITCH ________________________________________________________________ 8
EFFECTS LOOP _________________________________________________________________________________ 8
AUX INPUT _____________________________________________________________________________________ 8
DIRECT OUT SECTION __________________________________________________________________________ 8-9
USB DEVICE POWER ____________________________________________________________________________ 9
DISCUSSION ABOUT SMPS AND CLASS D _______________________________________________________ 10-11
TROUBLESHOOTING _________________________________________________________________________ 11-13
FACTORY SAMPLE SETTINGS ____________________________________________________________________ 14
USER SETTINGS _______________________________________________________________________________ 15
SPECIFICATIONS _______________________________________________________________________________ 16
SERVICE INFORMATION _________________________________________________________________________ 17
BLOCK DIAGRAM ______________________________________________________________________________ 18
PARTS LIST ___________________________________________________________________________________ 19
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your
outlet, consult an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally,
or has been dropped.
To insure proper ventilation always make sure there is at minimum four inches (101.6mm) of space behind the rear of the apparatus. The ventilation should
not be impeded by covering the ventilation openings with items, such as newspapers, tablecloths, curtains, etc. Do not impede ventilation by placing objects
on top of the apparatus which extend past the rear edge of its cabinet.
When Rack Mounting this unit proper ventilation space must be maintained. Do Not cover or block Front and Rear and allow at least 2” of open “breathing”
space on both sides of the unit.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
The AC plug is the mains disconnect. The plug should remain accessible after installation.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Always make sure 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 the amplifier is properly grounded. Always unplug AC power cord before performing ANY service to the amplifier, including but not limited to
changing the fuse. Use only same type and rating when replacing fuse.
Keep amplifier away from children.
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 when handling buttons, switches and controls. Do not use solvents such as benzene or paint thinner to clean the unit.
Always connect to an AC power supply that meets the power supply specifications listed on the rear of the unit. Export models: always insure unit is wired for
proper voltage. Make certain grounding conforms with local standards.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE PERMANENT HEARING DAMAGE!
Your MESA/Boogie® Amplier is a professional instrument. Please treat it with respect and operate it properly.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
Operating Instructions
BASS
500HZ 1.3KHZ
PARAMETRIC EQUALIZER
2-STAGE CLASS A TUBE PREAMPLIFIER
2.6KHZ
TREBLE MASTERINPUT
HIGHPASS
FILTER
POWER AMP
DAMPING
PASSIVE
MID
INPUT
25HZ 125HZ
80HZ 1KHZ
0 dB
-12 +12 LOW
MED
HIGH
0 dB
-12 +12
0 dB
-12 +12
150HZ 2.5KHZ 300HZ 5KHZ
PEQ
BYPASS
POWER
PROTECT
2 OHMS
LIMIT
O/D
PASSIVEPLAY
ACTIVEMUTE
SUBWAY® WD-800
™
OVERVIEW:
Congratulations on your choice of the SUBWAY WD-800™ and welcome to the MESA/Boogie® family! First, we would like to thank
you for choosing us as your amplifier company and trusting us to help create your musical voice. This is something we never take for
granted and you’ll find that we are here and ready to assist you should you ever need help. Our goal is to help you sound your best
at all times! We feel confident that your new amplifier will bring you many years of reliable service, rewarding inspiration and create
for you a newfound freedom to express your music.
You have chosen an amplifier bred of a fine heritage, and this model is our testament to our legacy of tone. Its forefathers can be
traced back to the very first MESA amplifier ever built, the MESA 450 Bass Head. In fact, the first 5 MESA amplifiers built in the Lagunitas mountain shack were Bass amps… a piece of trivia little known and overshadowed by our overwhelming notoriety for guitar
amplification. But we’ve always loved the Bass, and have—since day one—been committed to elevating its stature through our art
form. The bloodline for MESA bass continued with the first rack-mount chassis bass amplifier in 1980, the D-180. The mid-eighties
saw the introduction of the BASS 400 and later in 1988, the BASS 400+ with its stunning pitch, punch and power delivered by an
additional 6 x 6L6s to bring the total to twelve 6L6 power tubes in the mighty power section.
The 400+ went on to become a classic used by the world’s most talented bassists for two decades. Paul McCartney, Mark King, Stanley Clark, Jack Blades, Michael Anthony, Blasko and Bootsy Collins, are but a few of the international stars that put the 400+ center
stage to anchor the band during its 20 year build cycle. Those iconic amps still bring top dollar when you can find one changing hands
on the pre-owned market. While MESA has since pioneered an entire line of tube-driven mosfet amplifiers (including the legendary
Walkabout) that shored up our position in the bass market, changing times have encouraged us to take what we have learned over
this time and create a whole new approach to the bass amp, while remaining true to our heritage and tradition of tone.
Tone Freaks Rejoice! The SUBWAY WD-800 is the next step in the MESA Bass Amp Bloodline. A tone dripping powerhouse that’s both
compact and lightweight, packaged to go the distance with features, packaging and control over the entire bass spectrum makes it
an iconic step forward in bass amplification. The SUBWAY WD-800 is made in Petaluma, California with the World’s Finest Materials.
FRONT VIEW: SUBWAY® WD-800™
POWER
O/D
ACTIVEMUTE
PASSIVEPLAY
INPUT
REAR VIEW: SUBWAY® WD-800™
OFF ON
MAX AVG PWR CONSUMPTION 400W
MAINS FUSE: INTERNAL T-6.3A/250V
2-STAGE CLASS A TUBE PREAMPLIFIER
POWER
AMPLIFIER
44YV
HIGHPASS
FILTER
25HZ 125HZ
500HZ 1.3KHZ
80HZ 1KHZ
BASS
Risk of Electric Shock. Do Not Open.
CAUTION:
No user serviceable parts inside.
MADE IN PETALUMA, CA, USA WITH THE WORLD’S FINEST MATERIALS
SPEAKER OUTPUTS
2 OHM MINIMUM LOAD
150HZ 2.5KHZ 300HZ 5KHZ
0 dB
-12 +12 LOW
0 dB
-12 +12
PARAMETRIC EQUALIZER
IMPEDANCE
2 Ω 4/8 Ω
HEAD
PHONES
2.6KHZ
0 dB
-12 +12
Replace fuse with same type/rating only.
Do not expose to rain or moisture.
USB DEVICE PWR
POWER ON
MUTE/PEQ BYP
(FOOTSWITCH)
PEQ
BYPASS
PASSIVE
MID
WARNING:
USB
FX LOOP
RETURN SEND
TREBLE MASTERINPUT
SUBWAY® WD-800
AUX
TUNER
INPUT
OUTPUT
2 OHMS
PROTECT
LIMIT
POWER AMP
DAMPING
HIGH
MED
™
TUBE TYPE: 12AT7
CATHODE BIASED CLASS A
DIRECT OUTPUT
(PHANTOM POWER PROTECTED)
LEVEL
SOURCE
POST-EQ
PIN 1
LINE
LIFT
INPUT
POWER
100V-240VAC
~50/60Hz
RATED
POWER
400 WATTS/8 OHM
800 WATTS/4 OR 2 OHM
PAGE 1
®
SUBWAY
WD-800™ BASS AMPLIFIER
PRE-EQ MIC GROUND
OVERVIEW: FRONT PANEL
The SUBWAY WD-800 begins with the front panel input section, which is comprised of the INPUT jack, MUTE switch and ACTIVE/
PASSIVE switch. The INPUT jack feeds a high impedance J-FET input amplifier which provides appropriate loading for all active and
passive pickups (including most piezo types). The MUTE switch silences the signal from the INPUT jack to the SPEAKER output,
HEADPHONE output and DI output for silent tuning with a tuner connected in line with the instrument or to the TUNER OUTPUT jack.
The ACTIVE/PASSIVE switch sets the gain of the input stage, reducing gain in the active position to prevent unwanted distortion from
very high output basses and pedals. Indicator (tally) LEDs are provided for all switched functions.
The preamp section includes a hybrid J-FET/12AT7 (or 12AU7) vacuum tube variable GAIN stage incorporating tuned anti-saturation
technology to prevent even momentary sticking to the supply rails, and allow instantaneous recovery for an even more graceful tube-like
feel when driven hard into overdrive. A precision variable HIGH PASS FILTER is included to block unwanted sub-sonic signal (as well
as for specific tone shaping functions), and an O/L (overload) LED is provided to give visual indication of when the preamp is being
overdriven. “Sticking to the supply rails” occurs when the signal is driven so hard into clipping that excess charge accumulates. The
time required to clear this charge causes the signal to “stick” to the supply rails during these extremes, creating a visual and audible
kink in the shape of the waveform. The anti-saturation network we’ve included in your WD-800 prevents you from experiencing this
unpleasant artifact.
Tone shaping on the SUBWAY WD-800 includes an active Baxandall EQ which consists of LOW and HIGH FREQUENCY shelving
bands, plus an exclusive passive mid control (with make-up gain), a unique hybrid approach to the mid tone stack voicing within the
tube preamp. There is an additional 3 band ACTIVE PARAMETRIC MID EQ section which allows for pin-point tone sculpting with
foot-switch bypass and LED indicator.
Next, there is a MASTER volume control which sets the amplifier’s output level. The combination of positions between the input GAIN
and MASTER volume, along with the signal strength from your bass (which is also affected by your playing style and touch) allows
for a wide range of tones and feel, from shimmering clean to overdriven and everything in between.
Finally, there is a POWER AMP DAMPING control. What is this you might ask? By adjusting this control, you can loosen up the inherent tightness of the power amp which gives more bounce and makes the amp a little bit more interactive with the speakers. Different
combinations of speakers, along with room acoustics, playing style and personal taste will dictate how this control is set.
OVERVIEW: REAR PANEL
On the rear panel, you will find the power switch, and the AC mains inlet on a standard IEC “C14” connector. The SUBWAY WD-800
contains an auto-ranging universal power supply that can accept and operate on any voltage between 100-120 volts & 220-240 volts
AC, 50/60Hz without the need for any user adjustments or fuse change. This feature makes these amps ideal for the international
touring musician who plays in a variety of global regions. The only thing necessary to make the amp work is a correct power (mains)
cable that matches the power outlet/receptacle in the region. It is important for the mains power to be grounded/earthed for safety as
well as EMC reasons.
Next are parallel connected NL-4 SpeakOn™ connectors, which are wired with the amplifier positive to terminal “1+” and the amplifier
negative to terminal “1-“. All cables with NL-2 connectors (2 pole) will be wired this way. There is an IMPEDANCE SELECTOR switch
provided to properly match the power amplifier to the load. When driving a load less than 4 ohms (like 2.66 ohms or 2 ohms), set the
impedance switch to the 2 ohm position.
The SUBWAY WD-800 is equipped with a HEADPHONE output, which will drive all common headphones and IEM ear pieces between
8 and 32 ohms, a MUTE/PEQ BYPASS footswitch jack that mutes the signal when the tip is shorted to the sleeve and bypasses the
parametric eq when the ring is shorted to sleeve. Additional connections are provided for a serial master EFFECTS LOOP, an AUX
input, and a TUNER output.
One feature that sets your new SUBWAY WD-800 apart from the rest of the market is the inclusion of a studio grade XLR balanced
DIRECT OUTPUT, complete with PRE-EQ/POST-EQ signal routing switch, MIC/LINE level switch, and pin 1 GROUND LIFT switch.
Circuit attributes include full phantom power protection, high RFI immunity and extreme tolerance to ground potential differences.
Another unique feature is the inclusion of a USB charging port, which allows you to charge most USB connected devices. This can
be handy when rehearsing with an MP3 player, tablet, or phone.
PAGE 2
INSTANT GRATIFICATION:
The SUBWAY WD-800 is about the easiest amp on the planet to get great sound from… it really is a “plug and play” amp. Start with the
MUTE switch down (mute off), the ACTIVE/PASSIVE switch down (passive pickup), the HIGHPASS FILTER set to the 9:00 position,
BASS, PASSIVE MID and TREBLE controls in the “flat” (12:00 straight up) position, the MASTER volume control in the 1:00 position
and set the POWER AMP DAMPING control to the HIGH position. Plug your bass in, and turn the GAIN control up until you reach
your desired volume. Then, set the HIGHPASS FILTER, and EQ to taste.
POWER
O/D
INPUT
2.6KHZ
500HZ 1.3KHZ
ACTIVEMUTE
HIGHPASS
PASSIVEPLAY
FILTER
BASS
80HZ 1KHZ
0 dB
150HZ 2.5KHZ 300HZ 5KHZ
0 dB
PEQ
BYPASS
PASSIVE
0 dB
MID
TREBLE MASTERINPUT
2 OHMS
PROTECT
LIMIT
POWER AMP
DAMPING
2-STAGE CLASS A TUBE PREAMPLIFIER
25HZ 125HZ
-12 +12 LOW
-12 +12
PARAMETRIC EQUALIZER
-12 +12
SUBWAY® WD-800
HIGH
MED
™
FRONT PANEL (CONTROLS & FEATURES)
INPUT JACK:
amp of the SUBWAY WD-800. This stage is inherently transparent, and directly feeds the DI out when the DI out is set to the “PRE-EQ” position.
MUTE SWITCH:
the TUNER OUT jack for silent tuning with a tuner connected to the instrument cable and then through to the amp or to the TUNER
OUTPUT jack. When the switch is in the up position, the red LED will illuminate and NO audio will be present at the DIRECT OUTPUT
jack, HEADPHONE jack, or the SPEAKER OUTPUT jack. This switch can also be used to place the amp into standby mode before
and between sets without adjusting any of the controls. When using the MUTE FOOTSWITCH, this switch must be placed in the
down position.
ACTIVE/PASSIVE SWITCH:
buffer. Often (though not always), an active bass may have a signal level up to 10dB greater than a typical passive bass. If you find
that you are operating the gain control near the low (counter-clockwise) end of the control’s rotation in order to prevent the O/L LED
from flashing, switching this switch up (into the ACTIVE position) will reduce the input sensitivity (gain) by ~10dB, allowing greater
control range and freedom from overload with high output active basses. This control does not lower the input impedance of the
amplifier, nor does it “suck tone” like the input pads on some other amps.
This 1/4” (6.35mm) TS (tip-sleeve) jack is the instrument INPUT that feeds the first stage monolithic J-FET input buffer
This switch (and its associated red indicator/tally LED) mutes the audio signal being sent to all outputs except
This switch (and its associated blue indicator/tally LED) sets the sensitivity of the J-FET input
INPUT CONTROL & O/D LED:
This control determines the overall gain (and drive level) of the hybrid J-FET 12AT7 (or
12AU7) vacuum tube gain stage. Overdriving this gain stage may be a desirable tonal characteristic of your playing style, the amber
O/L LED provides a visual indication of the status of the drive signal level and how much preamp overdrive is being achieved. When
using significant overdriven tones, you may find it helpful to back down on the TREBLE EQ a little bit to reduce harshness and also
to reduce the BASS EQ (and/or increase the frequency on the high pass filter) to increase the clarity and impact. This hybrid tube
gain circuit draws inspiration from elements of our legacy amps, including the Walkabout, Carbine, and even the legendary Bass 400.
If it’s your tone, this tube gain stage is designed to be overdriven, so give it a try. When employing heavier overdrive, it’s generally
more pleasing reduce the tweeter level if your cabinets have tweeters. Note that the GAIN control operates in a linear fashion, an
increase in gain continues linearly throughout the entire rotation of the control. The amount of overdrive is increased by turning the
INPUT CONTROL up beyond the clean area of operation, and the overall volume will be controlled by turning the MASTER VOLUME
down as needed.
HIGHPASS FILTER:
This control sets the low frequency roll-off point of the amplifier, and is an important feature in maintain-
ing control over the extreme low end (especially under high drive conditions). This precision filter is comprised of variable two pole
PAGE 3
filter with a turnover frequency that is set at approximately 25Hz. While HPF’s have been standard fare within the pro audio industry
for decades, this feature has only appeared in bass guitar amplifiers within the past few years (with some notable exceptions). This
filter provides additional mechanical protection to the speakers from over-excursion damage by reducing the power to the speaker
below the frequency range that the speaker cabinet provides adequate acoustic loading to the drivers. This is one of the primary
(and preventable) causes of premature speaker failure, especially with compact speaker cabinet products that are driven very hard.
A second use for this filter is to roll off the very low end when overdriving the amp. This prevents the signal from becoming muddy,
and preserves the naturally musical growl and grit of the overdriven signal. A third use is for rolling off the extreme low end when
boosting the bass eq control, allowing for some unique low mid voicings, and a fourth use is for reducing the sub-bass frequencies
that can get out of hand in a boomy room. Experimentation will be helpful in all of these applications.
BASS CONTROL:
relative to the rest of the spectrum. Low frequencies (<80Hz) are responsible for the “depth”, “bottom”, “roundness”, or “feel” of the
tone. This is an active control with boost and cut, the amount of boost proportional to the clockwise rotation to the right of “flat” (12:00
straight up) position and the amount of cut proportional to the counter-clockwise rotation to the left of “flat” (12:00 straight up) position.
As with everything related to EQ, generally, a little bit goes a long way. The HIGH PASS FILTER control, combined with the BASS
CONTROL adds another dimension of tone sculpting by rolling off the extreme low end when boosting the bass eq control, allowing
for some unique low mid voicings. Use enough to get the job done and no more. Note that if you have very compact cabinets and
need high volumes, you will want to be aware that it is possible to overdrive speakers with excessive bass boost. If your speaker is
not getting you enough high level low end, it’s possible that you do not have enough “rig for the gig”, and “more speaker” is needed.
This is a shelving type filter.
TREBLE CONTROL:
nal, relative to the rest of the spectrum. High frequencies (>2.5kHz) are responsible for the “bright”, “airy”, “shimmery” character of
the tone. This is an active control with boost and cut, the amount of boost proportional to the clockwise rotation to the right of “flat”
(12:00 straight up) position and the amount of cut proportional to the counter-clockwise rotation to the left of “flat” (12:00 straight up)
position. This is a shelving type filter.
This active eq control is responsible for the amount (or volume) of low frequencies present in the signal,
This active eq control is responsible for the amount (or volume) of high frequencies present in the sig-
PARAMETRIC MID EQ CONTROLS:
GAIN CONTROLS: These controls (bottom row) are responsible for the amount (or volume) of the corresponding LOW MID, MID
and HIGH MID midrange frequencies present in the signal, relative to the rest of the spectrum. (the center frequency of each band
is selected with the corresponding mid frequency control, top row). This is an active control with boost and cut, the amount of boost
proportional to the clockwise rotation to the right of “flat” (12:00 straight up) position and the amount of cut proportional to the counterclockwise rotation to the left of “flat” (12:00 straight up) position of. This is a peak-dip (or bell) style filter. Remember that a little eq
goes a long way, use just enough to get the job done.
FREQUENCY CONTROLS: These controls (top row) are responsible for selecting the center frequency (or pitch) that the corresponding EQ GAIN controls acts on. Rotating this control sweeps the center frequency from lower (counterclockwise) to higher (clockwise).
If the eq gain control is set at 12:00 noon, there will be no effect when rotating the frequency control because there is no boost or
cut being performed. Sweep range varies by band, band 1: 80Hz – 1kHz, band 2: 150Hz – 2.5kHz, and band 3: 300Hz – 5kHz. The
frequency distribution of the sweep control is linear from endpoint to endpoint. It should be noted that these controls do not act on a
single frequency but act on a range of frequencies approximately 1/3 of an octave on each side of the center frequency.
PASSIVE MID CONTROL:
of midrange frequency content present in the signal, relative to the rest of the spectrum. Midrange is primarily responsible for voicing and articulation character of the instrument. This is a passive control with cut only, the amount of cut roughly proportional to the
counter-clockwise rotation of the control. Due to the specific way this filter is implemented by the use of make-up gain, most users
will find that their flat or neutral tone will be from the 10:00 to 2:00 position, and this might give the appearance of boost as the control
is rotated farther clockwise. This filter’s Q (width) symmetry and response is quite different from the parametric mid section, which is
typically used more for precise tuning of the amp’s response.
MASTER VOLUME CONTROL:
This eq control is an integral part of the amplifier’s voicing circuit and is responsible for the amount
This control is responsible for the level of signal being sent to the power amp, and deter-
PAGE 4
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