Mesa/Boogie TC50 Owner's Manual
Owner’s Manual
Hello from the Tone Farm
Congratulations on your choice of the TRIPLE CROWN™ and welcome to the MESA/Boogie®
Family! e instrument you’ve selected has a deep heritage that combines the best attributes
of vintage tube amplication with pioneering innovation that brings high-gain channel
switching performance to a new frontier. One look at the thoroughness of the feature set of
this amplier tells you it’s loaded with inspiring tools, but underneath the hood, the authenticity of these groundbreaking circuits and features (beware imitators) dates back to
our MARK I™ and the very beginning of Modern guitar amplication. So congratulations
on your choice… you should feel a sense of pride that you’re playing an amp like no other,
an original in every way! Just like you!
Our 45+ year commitment to excellence along with our solemn promise to musicians - to
treat each of them as we ourselves would wish to be treated - guarantees you an experience
that will make you feel truly justied in your choice. We’re condent your new amplier
will have you smiling and inspired within minutes of plugging in for the rst time...but
what’s really gratifying is that you will be nding new and inspiring sounds years after the
price of admission has faded from memory and the TRIPLE CROWN continues to unveil
it’s true worth.
It’s with our sincere thanks for trusting us with your TONE and our best wishes for all your
musical endeavors that we welcome you home. Should you ever need assistance or guidance
we’re here to help. You now have in your hands an instrument of limitless expression. Our
hope is that it takes you and your playing to new and unimagined places throughout your
musical journey. From all of us here at MESA®...Enjoy!
Table of Contents
PRECAUTIONS
OVERVIEW ____________________________________________________________________________________ 1-3
GETTING STARTED ______________________________________________________________________________ 4
HELPFUL HINTS ________________________________________________________________________________ 5
FRONT PANEL
GAIN _________________________________________________________________________________________ 5-6
MASTER _______________________________________________________________________________________ 6
PRESENCE _____________________________________________________________________________________ 7
TREBLE _______________________________________________________________________________________ 7
MID __________________________________________________________________________________________ 7-8
DRIVE/TIGHT __________________________________________________________________________________ 8-9
BASS __________________________________________________________________________________________ 9
OUTPUT & SOLO ______________________________________________________________________________ 9-10
POWER _______________________________________________________________________________________ 10
STANDBY ___________________________________________________________________________________ 10-11
REAR PANEL
AC MAINS SOCKET ______________________________________________________________________________11
FUSE __________________________________________________________________________________________11
REVERB ____________________________________________________________________________________ 11-12
SOLO SWITCH _________________________________________________________________________________ 12
EFX LOOP (SERIES) __________________________________________________________________________ 12-13
SPEAKERS __________________________________________________________________________________ 13-14
SPKR ON/SPKR OFF ____________________________________________________________________________ 14
HEADPHONE ________________________________________________________________________________ 14-15
LINE OUT _____________________________________________________________________________________ 15
CABCLONE™ D.I. ____________________________________________________________________________ 15-17
• CLOSED BACK/OPEN BACK/VINTAGE ___________________________________________________16-17
• CABCLONE D.I. (XLR OUTPUT) ____________________________________________________________ 17
• LIFT/GROUND __________________________________________________________________________ 17
MESA FTSW _________________________________________________________________________________ 17-18
MIDI THRU/OUT ________________________________________________________________________________ 18
MIDI IN _______________________________________________________________________________________ 18
MIDI CHANNEL ________________________________________________________________________________ 18
Table of Contents
MIDI OPERATING INSTRUCTIONS
FEATURES ____________________________________________________________________________________ 20
POWER-UP ____________________________________________________________________________________ 20
MESA FTSW ___________________________________________________________________________________ 20
MIDI INPUT ____________________________________________________________________________________ 20
MIDI THRU/OUT ________________________________________________________________________________ 20
MIDI CHANNEL ________________________________________________________________________________ 21
USER PRESET _______________________________________________________________________________ 21-22
USER PRESET DUMP & LOAD __________________________________________________________________ 22-23
MIDI CONTROL CHANGE NUMBERS ______________________________________________________________ 23
SOFTWARE UPDATES __________________________________________________________________________ 24
SOFTWARE VERSION SysEx MESSAGE ___________________________________________________________ 25
TRIPLE CROWN FACTORY PRESETS ______________________________________________________________ 25
FACTORY SAMPLE SETTINGS ____________________________________________________________________ 26
USER SETTINGS _______________________________________________________________________________ 27
TUBE TROUBLESHOOTING GUIDE ______________________________________________________________ 28-29
SPEAKER HOOKUP GUIDE ____________________________________________________________________ 30-35
TUBE TASK CHART _____________________________________________________________________________ 36
PARTS LIST ___________________________________________________________________________________ 37
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.
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 changing fuse, tubes or removing chassis. Use only same type and
rating when replacing fuse.
Avoid direct contact with heated tubes. 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 Amplifier is a professional instrument. Please treat it with respect and operate it properly.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
Operating Instructions
Overview:
Introducing the Triple Crown™ TC-50™, arguably the most fully evolved amplifier to date emanating from the “other side of MESA”
which has spawned such Rock classics as the Dual Rectifier® Heads, the TransAtlantics®, the Royal Atlantic™ and the Electra-Dyne™.
This 3 Channel platform covers all sounds and styles ranging from sweet, bouncy Cleans with a fat bottom end to mid gain Crunch
with attitude, through singing late 70s Lead sounds and all the way up to grinding walls of modern high gain, all containing gorgeous
harmonic content and touch sensitive dynamics.
It’s got the Cleans of a MARK amp in Channel 1, the Classic Rock Crunch and beyond in Channel 2, and in Channel 3, the most
gain of any MESA to date with Dual Rectifier-esque top-end, but a higher “EL34” harmonic spread and higher, tighter Bass response
blended with a MARK amp’s soaring, vocal sustain and effortless, inviting feel. And all this versatility is delivered with an immediacy
of attack and gut-punch midrange all its own in our line.
FRONT VIEW: TRIPLE CROWN™ TC-50™
REAR VIEW: TRIPLE CROWN™ TC-50™
HEADPHONE RETURN
8
7
6
5
4
3
2
MIDI
CHANNEL
9
A
B
C
D
E
F
0
1
STORE
MIDI
IN
MIDI
THRU/OUT
MESA
FT.SW.
CabClone™
LIFT
GROUND
D.I.
CAUTION:
Risk of Electric Shock. Do Not Open.
No user serviceable parts inside.
VINTAGE
CLOSED
BACK
CAB. SIM.
OPEN
SPKR
OFF
SPKR
ON
PAGE 1
®
4 OHM
8 OHM
WARNING:
Replace fuse with same type/rating only.
Do not expose to rain or moisture.
EFX ON
OFF/FTSW
EFX
LOOP
AMPLIFIER
44YV
SWITCH MUST MATCH
REVERB ON
SOLO ON
OFF/FTSW
SENDSPEAKERSLINE OUT
CLEAN
TUBES IN USE
BIAS
OFF/FTSW
LO
EL34/6V6
6L6
HI
This device has been tested and
found to comply with the limits for
a Class B device pursuant to part
15 of the FCC rules. Operation is
ON
subject to the following two
conditions: (1) This device may
not cause harmful interference,
EL34
and (2) this device must accept
any interference received,
including interference that may
cause undesired operation.
REVERB
LEVELS
FUSE
120 V~
60 Hz
2 A
SLO
2 A
BLO
Overview: Front Panel
CHANNEL SELECT
connected. It triggers an LED indicator in the Channel that’s active to assist you on stage.
NOTE: To use the Footswitch to select Channels/Modes, select the center CLEAN position of the Toggle and connect the Footswitch
Cable to the MESA FT.SW. Jack on the Rear Panel.
CHANNEL 1 (CLEAN)
capable of great single note solo sounds when run in the highest region on the GAIN Control. Add the midrange boost and compression
of the DRIVE feature and Channel 1 becomes a hard driving Blues machine capable of driving Rhythm parts and howling solo potential.
CHANNEL 2 (LO)
of clean response up until the halfway point. Then it gives way to a more complete saturation that’s right at home for either heavier
crunch rhythm or soloing in the middle to higher range of the GAIN Control.
CHANNEL 3 (HI)
Channel 2. This makes it great for the Heaviest Crunch Rhythm below 12:30 on the GAIN control and singing liquid sustain reminiscent, but perhaps even more of the high gain voice MARK Series amplifiers showcased above 12:30. The highest range on Channel
3’s GAIN control offers surely the most saturation and sustain available from any MESA amplifier, past or present.
DRIVE/TIGHT
1 it is DRIVE and in Channels 2 and 3 it is called TIGHT, but the circuit is basically the same. The difference in names refers to the
sonic changes that occur in relation to the gain region of the Channel. This voicing switch tightens low end response and adds a
little bump in the tighter, more focused midrange frequencies. In effect, this alternate EQ shape adds a second voice to each of the
three Channel’s already great sounds. In Channel 1 DRIVE shines for howling Blues single note Soloing and edge-of-clip chording
by pushing the sound into the threshold of saturation and adds midrange attack. In Channel 2 TIGHT brings the low end into focus
and creates a more articulate response that’s perfect for Blues soloing in the lowest gain range and amazing Nu-Metal Chording in
the higher ranges. In Channel 3 TIGHT can add articulation and focus to even the highest gain soling, adding definition to levels of
saturation that might otherwise be indistinct and mushy. While DRIVE/TIGHT imparts something different and useful to each of the
three Channels, it also changes the “feel” on the strings and allows more aggressive picking techniques to be both more easily accommodated input-wise and more expressive in terms of impact and punch.
In addition to their gain differences, all three Channels in the Triple Crown feature a Voicing switch. In Channel
This 3-position mini toggle switch determines which Channel is called up when the Footswitch is not
Channel 1 focuses on the Clean response and delivers a bouncy, bubbly rhythm sound that is also very
Channel 2 starts out in the lower saturation GAIN ranges and offers a very expressive, furry, clipped, edge
Channel 3 delivers full-blown, yet controlled, mayhem with even more saturation and harmonic layering than
OUTPUT
with just one control once you have setup your preamp sounds and balanced the Channels with each other using the individual
Channel MASTER controls. The OUTPUT is located just before the power section’s DRIVER stage and acts as an EFFECTS Return.
SOLO
button on the included Footswitch or by storing it “ON” under a MIDI program number. It is essentially an additional OUTPUT control
that is wired in series and can achieve levels above that of the setting on the OUTPUT.
The TRIPLE CROWN features a global OUTPUT control enabling you to raise and lower the overall playing volume
This footswitchable/MIDI programmable feature enables a pre-settable boost in volume to be engaged by either the SOLO
Overview: Rear Panel
REVERB
on where to use it for the best footswitchable results. And if you still need more control than this sophisticated approach to applying REVERB
offers… we’ve provided a “hidden Reverb kill” jack on the tube side of the chassis giving those who “don’t mind the dance” total control.
BIAS SWITCH
with the fatter, rounder sounding 6L6… for those who want a warmer, rounder response.
Lush all-tube Reverb drenches the TC-50’s three Channels with a beautiful 3-D halo and provides you with assignable choices
An old favorite, we’ve included our handy BIAS SWITCH that allows you to swap the stock compliment of EL34
PAGE 2
6V6s can be used safely in the EL34 Setting with just a direct swap over, creating a “Half-Power” scenario that exudes a more bubbly,
vintage voice and creamier top end harmonic content.
NOTE: Make Sure Bias Switch Setting Matches The Tubes In Use!
REVERB, EFX, SOLO SWITCHES
feature. These functions can be activated by either the mini toggles or the Mesa foot switch. These mini toggles are also used when
creating a MIDI preset as explained later in this manual.
SPEAKERS
The dual ¼” jack setup can handle most of the common speaker impedances from 4 to 16 Ohms. 2 Ohm Loads are not supported
and are not recommended and this will likely be no inconvenience as 2 Ohm ratings are very rare in the world of guitar cabinetry
anyway. A mini toggle flips you between the 4 Ohm and 8 Ohm taps on the output Transformer and between these two positions, most
popular cabinet configurations and load requirements can be accommodated.
SPKR ON/OFF
plications for “In Ear” monitoring in stage performance scenarios. While on the TRIPLE CROWN this switch is located in the SPEAKER
SECTION of the Rear Panel, it is part of the CabClone DI circuit.
Be sure to check this switch if you get no signal (Live using Cabinets/ internal speakers) when all other Controls and Switches are
at settings that should produce sound. It is common for this switch to be accidentally turned off during setup or connecting speaker
cabinets, or even when programming MIDI information. This is especially true when demo-ing the amplifier in music stores where the
previous party to audition the amplifier may have switched it on and off.
HEADPHONE JACK
is not possible — or you don’t want to — play through a speaker. This stereo ¼” jack derives its “speaker simulated” signal from the
on-board CABCLONE™ D.I. feature circuitry and delivers a surprisingly good rendering of the TRIPLE CROWN’s sound and feel to
your headphone set of choice.
The TRIPLE CROWN handles the interfacing of speakers with a slightly different set-up from other MESA amplifiers.
The CabClone features a SPEAKER ON/OFF feature that allows silent recording or live Direct to Console ap-
The TRIPLE CROWN features a HEADPHONE Output for personal enjoyment of the amplifier when it
These three mini toggles control the activation of the REVERB, EFX LOOP and the SOLO
CABCLONE™ D.I.
Direct recording without the need for mic-ing, although you can do that as well for a blend of live speaker and Direct sounds. The full
compliment of Voicing options from our stand-alone CABCLONE has been included here; CLOSED BACK, OPEN BACK and VINTAGE,
and this greatly increases the versatility of this feature for different sound styles. Other features aboard in addition to the balanced
XLR Output include SPEAKER MUTE (located near SPEAKER Outputs), GROUND/LIFT options and an uncompensated LINE OUT.
NOTE: When using the SPKR ON position, make SURE you have a working speaker connected to one of the SPEAKER OUTPUTS.
Failure to do so may result in damage to your amplifier that is not covered under Warranty. Using the amplifier in the SPKR ON position without a speaker or external load (resistor, soak, etc) connected will likely cause damage to your output transformer and render
your amplifier inoperative. Damage caused in this manner will not be covered under warranty.
FTSW and MIDI
IN and THRU/OUT are included for true connectivity and a number of ways to access the amazing sounds and pro features in the
TRIPLE CROWN. A STORE toggle switch allows simple one-touch writing of your desired sounds in all the Channels to any of 256
MIDI Program Numbers. There is also a MIDI Channel mini Rotary Selector for syncing of the MIDI Channel to be used by your
Controller of choice.
Here in the TRIPLE CROWN we’ve included our popular CABCLONE™ D.I. Recording Interface for convenient
Three DIN jacks, one 6-Pin for the TRIPLE CROWN Footswitch, and two standard 5-pin DIN jacks for MIDI
PAGE 3
GETTING STARTED
1. After unpacking the amplifier, check to make sure all the tubes are firmly seated in their sockets as some may have loosened
a bit during shipping.
2. Connect the A.C. Cord to a grounded (3 pin) A.C. outlet.
3. Unpack the TRIPLE CROWN Footswitch and connect the 6 pin DIN Footswitch cable to the FOOTSWITCH DIN jack on the
right side of the Rear Panel. If you intend to use a MIDI Controller to access the Channels and Features, connect your Controller (or Computer) to the MIDI IN jack on the TRIPLE CROWN Rear Panel.
4. Connect your speaker enclosure to the proper matching impedance SPEAKER OUTPUT on the left side of the TRIPLE
CROWN Rear Panel. An 8 Ohm load is preferable for your first experience with an amp this dynamic and explosive as you will
hear the full power potential and best Tonal balance. .
5. Flip the POWER Switch to the ON position while leaving the STANDBY Switch in the STANDBY position for at least 30 seconds. This allows the filaments to warm up in the tubes before being put to use. Following this cold-start procedure every time
you power up will increase the toneful life of your tubes.
6. If you intend to connect processing devices to your loop, do so now and look up EFX LOOP in this manual for proper connection and operation, although we recommend auditioning the TRIPLE CROWN without processing for the first time. If the Loop
is to be in, check the INPUT levels on your processor to make sure they are in the medium to lower range so you can increase
the level slowly once you have lifted STANDBY on the TRIPLE CROWN and run through the Channels to view the SEND level
coming from the amp.
7. Follow the Sample Settings examples below and set the Controls at these approximate settings for a tour through your new
world of TONE. Remember these are just a glimpse at the vast possibilities and are meant to give you a taste of one possible
way to set up your Channels. Feel free to fine tune the sound as you go...you can’t hurt a thing and you will be learning by
feel...the best way.
8. Flip the STANDBY to the ON position and enjoy the ride!
INSTANT GRATIFICATION
to set up the Channels. This example demonstrates a pristine Clean sound in Channel 1, a heavy Crunch Rhythm in Channel 2, and
a burning high gain lead tone in Channel 3.
In case you haven’t yet played your new amplifier, below is just one example of the many ways
Instant Gratication Settings (Head Version)
PAGE 4
HELPFUL HINTS
NOTE: REDUNDANT INFORMATION: Throughout this Operating Guide you will encounter redundant information and sections that
are repeated for your continued awareness and as reminders. This is done so a person can read only the sections they are interested
in, and yet still get the important points they should know or NEED to know about the TRIPLE CROWN. We apologize if this gets
annoying for the cover-to-cover reader, but even they may appreciate it some time in the future when referencing this Guide quickly
for a specific topic.
• Beware of high settings on the BASS control in Channels 2 and 3, especially when the GAIN is set high. Too much BASS will pro-
duce a flubby, indistinct attack and “slow” the response time. A basic rule regarding the BASS control might be this; As the GAIN
goes up...the BASS should come down.
• The GAIN and TREBLE Controls are the most powerful tone shaping controls in each Channel and should be used with taste.
They determine much about the attack characteristic and the overall personality of the sound in all the Channels. Many of the great
sounds in all the Channels will find these two Controls in their middle ranges.
NOTE: Avoid setting the TREBLE high (above 2:00) when the GAIN is to be set high as this brings about the tendency for a slightly
microphonic tube to ring or squeal.
• Your TRIPLE CROWN will sound better and feel better to play if you have at least one speaker cabinet touching the floor you are
standing on while you play. The coupling effect and especially the transmission of bass frequencies will cause the amp to sound
fatter and the strings to feel more substantial and tangible when the amp (or cab) sits on the floor. Wood floors (like stages) are
really great! Let’s face it... the guitar can be one of those weird instruments that rarely feels the same way two days in a row, night
to night, from room to room... and we can use all the help we can get. This usually helps... with the only exception being a stage
filled with too many live mics...sometimes then you are forced to lift the amp to avoid the coupling effect.
• Use the STANDBY switch every time you power-up (from cold or hot), during set breaks, cable hook-ups and anytime you are not
playing for a few minutes. Doing so will increase the toneful life of your tubes.
• Be sure to check the SPKR ON/OFF switch if you get no signal (Live using Cabinets or the internal Combo speaker) when all other
Controls and Switches are at settings that should produce sound. It is common for this switch to be accidentally turned off during
setup or connecting speaker cabinets, or even when programming MIDI information. This is especially true when demo-ing the
amplifier in music stores where the previous party to audition the amplifier may have switched it on and off.
• Circuits emanating from this “other side” of the MESA Line and sharing that DNA tend to favor TREBLE and PRESENCE control
settings on the lower side for sounds in the warmer domain. Depending on guitar woods, pickups and technique, don’t be surprised
if you find great sounds below 12:00, or even all the way off on the TREBLE and PRESENCE, with the MID’s broad Q that carries
substantial top end providing all the top end cut you need.
FRONT PANEL
GAIN
It meters the gain in different tube stages depending on the Channel called up – and it sets Input Stage headroom - which determines
whether the sound will be clean or overdriven. It also acts as a subtle Tone control as the tube stages’ gain is increased and decreased
and imparts its own “color” on the sound.
In all the Channels, there are three regions of the GAIN control – a low gain zone between 8:00 - 11:30, a warmer, more saturated
zone from 11:00 - 2:00 and a higher gain zone from 2:30 – 5:00. Each of these zones can be used for many different applications
and all can be used for both chording and single note solo work. As the GAIN control is swept throughout its range it imparts different textures and tonal characteristics.
This is, by far, the most powerful control in the TC-50 and its setting determines the style and personality of the Channels.
Generally speaking, the lower end of the control (8:30 – 11:30) in both Channels and Modes produces a brighter, more open char-
PAGE 5
acter that has more dynamic content available. This region is great for clean, sparkling chording in Channel 1, where the maximum
headroom is available, the top end harmonics are bubbly and the attack is lightning fast. Channel’s 2 and 3 are tuned to deliver
threshold sounds in this zone where the gain is warm and furry, but there is still plenty of the guitar’s personality intact. This zone
is great for all the Channel 2 sounds when used for clipped chording, as there is plenty of dynamics intact that have not yet been
compressed by too much saturation.
The middle region of the GAIN control (11:00 – 2:00) is where the most balanced sounds live and you will find this region delivers
warm, full sound, detailed attack and good dynamics and the Tone controls still have a powerful effect on the signal. Channel 1 CLEAN
delivers great chording response, sounds richer and has more body here. Depending on pickup style and strength you will have to
watch for clipping as you are nearing the crossover point - gain-wise. Some of Channel 2’s best sounds are to be found here as things
start smearing nicely as they start getting into tube overdrive. As you approach 12:00 in Channel 3 there will be plenty of saturation to
keep chords grinding and single notes hanging – but not too much to start compressing the life out of the sound. If you aren’t getting
great results in this region for your gain sounds in Channel 3, you may want to look at trying some pickups with a bit hotter output.
The highest region of the GAIN control (2:00 – 5:00) is all about saturation, especially in Channel 3. Up here the signal gets much
fatter in the low end and the top end begins to recede to create a round, compressed sound. Dynamics become slower with lower
peaks and a more legato, creamier feel is produced. In Channel 1 the high end of the GAIN control produces some great “clipped
clean” sounds as the Input stage gives it up and starts to saturate.
Channel 3 gets truly wild at the top end of the GAIN control and both gain Channels unveil their true potential for soloing. There is
ample gain up here to rip into any style you wish with the Channel 3 pumping out ridiculous levels of thick creamy overdrive for single
notes. With the GAIN maxed you can achieve virtually infinite sustain… if you can keep your guitar stable and from feeding back.
At the highest GAIN settings you will notice the Tone controls have a diminished effect on the sound. The notes are so saturated and
their character has been pre-determined by the way each Channel is voiced and how it reacts to this level of gain. May we humbly
suggest using the GAIN control in its middle range whenever possible to achieve the best balance of overdrive and still retain the full
shaping power of the Tone Controls. Also, your attack will remain definitive and focused in the middle range and not get over saturated
and “slowed down” as it can in the highest region of GAIN settings.
MASTER
This control determines the overall output level of each Channel and is located at the very end of the preamp. By
using it in combination with the GAIN control, any amount of preamp signal strength – gain – (Within a Channel’s parameters) can be
achieved at any playing volume. Once you have dedicated the Channels to their respective sounds, you can then balance the volume
levels of the Channels using the MASTER controls.
In addition to adjusting the playing loudness of the Channels, the MASTER functions as an EFFECTS SEND control for the EFX
LOOP when the LOOP is activated (by connecting plugs to the LOOP SEND and RETURN jacks).
For general applications and to get the best performance out of all the Channels we recommend MASTER settings in the 9:00 – 12:00
range with most people settling in around 10:00 – 11:00 for average playing volumes.
Some purists like to run the MASTER all the way up and raise the GAIN until they reach their desired sound–the thinking there is that
this achieves the purest sound. In theory, they believe this resembles removing the control altogether from the signal path, and in a
way it does. However, most all the “vintage non-master” amplifiers they are seeking to emulate have discrete resistors in that place
in the circuit anyway to adjust or “tune” the output of the preamp to the power section sensitivity.
The MASTER is nothing more than a variable resistor(s) that offers an infinite range of settings possibilities and makes the amplifier
many times more versatile with no sonic penalty. If you prescribe to this old school approach, then by all means, use the Triple Crown
this way… it won’t hurt the amplifier. However you will be severely limiting the potential sounds you can achieve by removing the
limitless great sounding combinations of GAIN and MASTER settings.
PAGE 6
PRESENCE
than the Tone Controls at the end of the preamp. Unlike a PRESENCE circuit located in the power section, the TC-50 utilizes a preamp
roll-off type PRESENCE to maintain a level of urgency and simplicity in the power section for tonal reasons. This is part of its urgent
character and ability to hit so hard in the midrange frequencies.
You can think of the PRESENCE as a control that allows you to either clamp the highs down, compressing and darkening things - or
open it up and let the full spectrum of upper harmonics come blazing through. It also has a great deal to do with how dynamic the
signal is and how a sound will cut through the mix in an ensemble environment.
At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic fluctuation will be limited.
As the PRESENCE is increased (11:00 – 2:30), the top end starts to become more dominant and that compression gives way to “cut”
and dynamic peaks jump out with startling speed and accuracy. At the top end of the control (2:30 – 5:30), a super aggressive blend
of upper harmonics dominate the sound and this region can be somewhat dangerous if it’s not applied in small measures. Higher
notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording heavy crunch
rhythm parts and even then – mostly on parts that feature the lower strings. This region – especially when coupled with the inherent
curve of many of the microphones typically used in P.A. (sound reinforcement) applications can be truly punishing.
Clean sounds in Channel 1 can generally benefit from a bit higher settings (10:30 – 12:30) than sounds in this or any Channel that
has overdrive involved in its makeup. Once saturation begins the frequencies carried in the PRESENCE control can make things
edgy or brittle… even buzzy, real fast if you aren’t careful. Overdriven chording sounds can tolerate higher settings (10:30 – 12:30)
better than can single note sounds, which usually want to roam the zone below 11:00 to stay round, focused and vocal.
This control adjusts high frequencies - above those of the TREBLE - and is farther downstream in the signal path
TREBLE
responsible for shaping the character of the entire Channel. It can overpower the rest of the Tone controls easily and therefore its
setting is crucial to a rich and balanced sound in all three Channels. Setting the TREBLE with care and taste in mind is critical for the
Tone control string to work in harmony.
In all three Channels the middle region of the TREBLE delivers the best balance and creates sounds that are plenty bright enough
but still rich and warm. We suggest that you start with the TREBLE at 12:00 and adjust up or down slightly until the desired blend
is achieved. However, circuits emanating from this “other side” of the MESA Line and sharing that DNA tend to favor TREBLE and
PRESENCE control settings on the lower side for sounds in the warmer domain. Depending on guitar woods, pickups and technique,
don’t be surprised if you find great sounds below 12:00, or even all the way off on the TREBLE and PRESENCE, with the MID’s broad
Q that carries substantial top end providing all the top end cut you need.
In Channels 2 and 3, the MID control carries frequencies that are somewhat close to the TREBLE along with the upper mid and lower
mid frequencies it is centered around. Use this idiosyncrasy to your advantage and experiment with setting the TREBLE lower than
“normal” and running the MID up a bit and vice versa. Some very cool sounds can be found with the TREBLE lower, even very low
or “off” and the MID higher. Be sure to check this interaction between these two powerful controls, as it will be critical in achieving
the sounds you hear in your head.
MID
the massive global shaping power of the GAIN and TREBLE controls. However, its setting does impart a strong character on the
sound of all three Channels. It brings in and out a broad band of midrange frequencies and – as we have mentioned earlier in the
TREBLE section – along with these rides a fair amount of higher “low treble” range frequencies. These highs are lower than that of
the TREBLE, but they are important for the punch and cut of the amplifier in a mix.
While the GAIN is the most powerful control in the TC-50, the TREBLE comes in a close second. The TREBLE is
The MID control in the TC-50, while very powerful, acts a little more like a standard tone control and doesn’t have quite
For rhythm playing in the CLEAN Channel, but really globally in all the Channels, a lower MID setting (7:30–10:00) scoops some of
this midrange attack and makes the bottom end breathe more. This range will also make things more resilient and create an easier
to play, more elastic feel on the strings. Single coil guitars work very well here for the slinky, rubber band attack and bouncy bass
character associated with Blues, R&B and Country clean styles.
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The middle region (10:00–1:00) is where the punch and attack begin to come on with more urgency and this is where mahogany
guitars really like to see the MID set for adding the cut and definition. Here the top end begins to show itself in the mix of the MID
controls’ spectrum and chording sounds start to chime and slash with a more forward and very present character.
From here on up (1:00–5:30) the MID introduces an aggressive range of sounds that are still full, but quite forward as the dominant
frequencies become those present under control of the MID. In this range you will likely have to increase the BASS to add back in the
richness and warmth that gets overshadowed when the MID control is set high. If you like the attack and urgency found in this range
of the MID, all the other controls (except maybe the MASTER, which you may have to back down as the sound gets more forward)
may have to be set higher to keep up with the MID dominant curve. This is fine, although there will reach a point of diminishing return
as the headroom in the preamp gets eaten up by this tonal arms race and you begin to clip the preamp with the high signal from the
Tone control string.
For gain sounds in Channels 2 and 3, a similar story unfolds as the MID is increased. Lower settings (7:30 – 10:30) will produce
wider sounding, more elastic feeling chording sounds and the single notes will have a creamier, smoother character. High harmonics
created by the gain and controlled largely with the TREBLE, will put a patina of three-dimensional haze on things that smears nicely
with vintage soul.
As the MID is increased past the 10:00 range, cut and bite begins to creep in along with the chesty midrange punch. This is where
some classic Crunch is found in the middle range of the GAIN control. This MID kick is an integral part of the impact and tight-tracking
accuracy of this iconic mid-gain sound that has been a Rock staple for the last four decades. In Channel 3, the single notes leap
forward with greater authority, speed and the warmer, juicier sound begins to give way to a fire-breathing blow torch … especially at
high GAIN settings.
Passing the 1:00 mark unleashes the brash attitude pent up in the MID frequencies and top end joins the party in a big way. Here is
where you look for the most forward and aggressive attack over a wider range than that of TREBLE control. The feel on the strings
will become less forgiving and your playing will be put under a microscope in the time domain. This region is great for pushing Rock
rhythm sounds to the forefront of a mix in Channel 2, no matter how much gain you thicken it up with on the GAIN control. Single
note solo sounds in Channel 3 will be lightning fast and deadly accurate and certainly will be heard by all, as they will have a definite
point of origin in the bar line.
One suggestion, or maybe more of a word of caution… the MID control contains frequencies that can be a little tough on the ears if
not used with some discretion. Be sure to put your head down by the cabinet at some point and sample what you are dealing out
to the audience and/or the microphone. You might be surprised how much impact – and possibly even pain – can be dialed in with
higher settings of the MID. Unless you are out to hurt people, which is never a good idea, you may find the middle to lower range
of the MID gives you plenty of attack and definition but still sounds balanced and warm and lets others enjoy your playing without
wincing at every note.
DRIVE/TIGHT
This switch re-voices the midrange, adding a boost in the medium to upper midrange frequencies usually associated with punch and attack. It also compresses the top end a bit and tightens the low end and all these characteristics in combination
have the effect of tightening the sound, thus its name. In Channel 1, the effect is experienced as a slight overdrive effect. To avoid
confusion and unnecessary phone calls to our Customer Service Department, this feature is labeled DRIVE.
In Channel 1, the DRIVE is effective at adding the extra push and subtle saturation for Blues or Roots sounds when the GAIN control
is run in the top of its range. It provides the little bit of extra gain needed to push this threshold sound into a more viable clip for driven
rhythm work or jabbing solo phrases.
For gain sounds in Channel 2, the TIGHT feature tightens the low end and adds percussive midrange gain. This can also be useful for
Blues sounds in the lower range of the GAIN (below 12:30) or when the Gain is above 1:00, adding aggressive attack and controlling
the low end for Crunch Rhythm sounds. Channel 3 high gain sounds benefit from the enhancements found in the TIGHT voicing as
the low end control and mid bump can add articulation to really high GAIN settings (extreme saturation in the higher range) that can
otherwise be too slow, are oversaturated or are just in need of some added focus.
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