Mesa/Boogie TransAtlantic TA-30 Owner`s Manual
Owner’s Manual
Hello from the Tone Farm
Congratulations on your choice of the TransAtlantic TA-30 and Welcome to the MESA/
Boogie Family. e instrument you have chosen may well redefine the Brit amp genre by
including preamp and power options that seem near impossible for an amplifier with such
a humble footprint and manageable poundage. is TransAtlantic follows the architecture of its lower powered sibling, the TA-30, that’s been blowing the minds of critics and
players alike and adds a more robust power section, gorgeous tube Reverb and an assignable/bypassable Effects Loop. e extra horsepower and feature set on the TA-30 brings
the TransAtlantic concept - and more importantly Tone - out of the studio and into the
world of pro gigging.
Two footswitchable Channels navigate the Atlantic with stylistic flair and give you a passport to the best British and American preamp sounds in two straightforward groups of five
controls. e Five Preamp Modes (2 in Ch.1 and 3 in Ch. 2) are selected with a simple
mini toggle located in the top position of stacked toggles in each Channel. Along with this
array of iconic preamps the TA-30 offers three amazing power choices in each Channel,
each of which allow you to perfectly tune the power to enhance the preamp Mode chosen
for a given footswitchable sound. e result of all this flexibility is a fully capable liveperformance amp with an uncanny sense of direction; that can also be switched down to
15 watts for lower volume power- clip applications or late-night sessions.
Our 40 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 justified in your choice. We’re confident your new amplifier
will have you smiling and inspired within minutes of plugging in for the first time. However, what’s really gratifying is that you will be finding new and inspiring sounds years
after the price of admission has faded from memory and the Tr a n s aT l a n T i c continues to
unveil its 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
OVERVIEW _______________________________________________________________________ 1-2
HELPFUL HINTS __________________________________________________________________ 2-3
FRONT PANEL CONTROLS & FEATURES
THE MODES: NORMAL, TOP BOOST ____________________________________________________3
THE MODES: TWEED, HI 1, HI 2 ______________________________________________________ 4-5
POWER MODES: MULTI-WATT POWER ________________________________________________ 5-6
INPUT _____________________________________________________________________________7
FOOTSWITCH_______________________________________________________________________7
VOLUME / GAIN ___________________________________________________________________ 7-8
GAIN / PULL BOOST _________________________________________________________________8
TREBLE _________________________________________________________________________ 8-9
BASS ______________________________________________________________________________9
REVERB ___________________________________________________________________________9
FX & REV / BYPASS _________________________________________________________________10
CUT / PULL MASTER _____________________________________________________________ 10-11
CHANNEL SELECT _________________________________________________________________11
MASTER: CHANNEL 2 _______________________________________________________________11
POWER: OFF / ON & STANDBY _______________________________________________________12
REAR PANEL CONTROLS, SWITCHES & JACKS
A.C. RECEPTACLE __________________________________________________________________13
FUSE _____________________________________________________________________________13
SEND / RETURN ____________________________________________________________________13
SPEAKERS ________________________________________________________________________14
FACTORY SAMPLE SETTINGS & PERSONAL SETTINGS SHEETS _______________________ 15-18
TUBE MAINTENANCE & DIAGNOSIS ________________________________________________ 19-23
BIAS ADJUSTMENT: A feature article by Randall Smith _______________________________ 24-26
SPEAKER IMPEDANCE & POSSIBLE HOOK-UP SCHEMES - Amps to Speaker Cab ________ 27-32
TRIODES, PENTODES & IRISHMEN: A feature article on the workings of tubes ____________ 33-35
TUBE DESCRIPTION & TASK CHART __________________________________________________36
PARTS SHEET _____________________________________________________________________37
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
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. Expor t 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.
CAUTION!
WARNING!
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
8 OHM OUTREVERB
4 OHM OUT 4 OHM OUT SEND RETURN EL-84 X 4TUBES: 12AX7 X 6 INSIDE
-
INPUT
FT SW
VOLUME TREBLE BASS TREBLE BASS MASTER
POWER
STANDBY
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
ON
ON
MASTER
PULL
CUT/ BOOST
PULL
GAIN/
™
-30
BYPASS
FX & REV
BYPASS
FX & REV
®
REVERB
REVERB
Unplug power to service chassis.
Unplug power to change fuse.
TA-30
MESA BOOGIE LTD.
ALL-TUBE AMPLIFIER
™
PATENTED
6,621,907
7,602,927
Instruction Manual
HANDBUILT IN PETALUMA CALIFORNIA, USA
CAUTION!
WARNING!
Unplug power to service chassis.
Unplug power to change fuse.
TA-30 ALL-TUBE AMPLIFIER
MESA BOOGIE LTD.
™
8 OHM4 OHM4 OHMSENDRETURN
4 x EL-84
ABOVE
6 x 12AX7
BELOW
REVERB
SPEAKERS
FX
PATENTED
6,621,907
7,602,927
120 V~
60 Hz
2 A
2 A
SLO
BLO
Overview:
While the TA-30 control layout is rather sparse (for a MESA), there is a lot more going on internally than might be apparent at first
glance. Make no mistake, this is not a low line offering, but rather a power experiment in the world of simplicity. In every way the TA30 stands proud alongside our larger multi channel offerings with the same components, build quality, versatility and performance…
an equal in every way except weight and mass.
The two Channels offer Mode choices that roam the Atlantic with Channel 1 focusing on the British side of the Pond and Channel 2
incorporating both British and American sounds.
Channel 1 offers two Modes that pay tribute to the Vox heritage; a lower gain NORMAL Mode that delivers shimmering higher headroom clean sounds and TOP BOOST, our take on one of the most iconic Brit sounds ever, that excels at clipped rhythm and lead
sounds. Channel 2 packs three selectable Modes and this Channel alone offers more stylistically divergent landscapes than many
whole amps. TWEED follows the Southern Cal vintage line to deliver gorgeous clean chording sounds that have more low end and
breathy air than Channel 1 NORMAL - and yet clips smooth and furry when pushed. From there HI 1 jumps back to the U.K for a Brit
style higher-gain Mode that, when set lower, romps on vintage crunch rhythm sounds with stripped urgency. HI 1 also delivers searing
high gain solo sounds that retain a crisp, definitive attack as the GAIN control is cranked. Finally, another crossing and you’re back in
Petaluma, CA for the smooth warmth of the high gain Boogie lead voice found in HI 2. This Mode adds low-end girth and sweetens
the attack frequencies to produce a fatter, rounder tone that is great for single note work.
The TA-30 incorporates a new GAIN BOOST feature in Channel 2 that takes it into new and uncharted waters, enabling it to scuttle
even the most extreme Rock and Metal sounds with one well-aimed pull on the GAIN pot trigger. This boost of gain empowers all
three Modes in Channel 2 and delivers a take-no-prisoners assault on the senses…especially in HI 1 AND 2.
Add to all this preamp versatility our patented Multi-Watt Power and you have the ultimate tools to craft a sound that is all yours.
Multi-Watt allows you to match one of three perfect power-response characteristics to each of the Modes and footswitch between
two iconic sounds.
FRONT VIEW: Tr a n s aT l a n T i c TA-30
REAR VIEW: Tr a n s aT l a n T i c TA-30 Combo
REAR VIEW: Tr a n s aT l a n T i c TA-30 Head
PAGE 1
Ov e r v i e w : (Continued)
The 15W position on the Multi-Watt™ mini toggle in each Channel captures the old world magic of 15 watts running in Class A which
- along with being ultimately clippable - emphasizes a truly precious blend of warmth and lined-up, chiming harmonics at low playing
volumes.
The 30 watt setting brings aboard two more tubes while remaining in Class A while it pumps up the wattage for the perfect blend of
iconic vintage response, manageable power and sweet, smooth clip.
From there things take a leap forward in time and power to our Patented Dyna-Watt™ power in the upper 40W position. This incredibly dynamic power scheme switches the wiring style to Class AB and allows the headroom to increase dramatically by unleashing a
burst of power at the instant of attack. Voltage is stored-up and released in a time-specific burst from the power supply continuously
as you play, creating punch headroom and tight-tracking authority well beyond your expectations.
The Hard-Bypassable Series Effects Loop allows you to interface outboard processing without degrading your signal for effects such as
chorus, delay flange or anything that doesn’t sound right on the “front end” (between the guitar and amp). The TA-30’s Loop works well
with both Pedal and Rackmount processors and provides ample headroom and drive to accommodate both with Toneful finesse.
All this control over both the preamp architecture and power section wiring styles combined with the simplicity of the Gain and Tone
Controls create a package that allows for instant gratification and long-term exploration. How you choose to enjoy the Trans Atlantic
is your call, but we feel confident that no matter what type of stylistic arena you find yourself in, the tools are here for you to craft your
own signature version of these classic sounds.
HELPFUL HINTS:
Cut the cable tie that holds the AC Power Cord to the Rear Tube Cover and connect it to a Grounded AC wall socket.1.
Connect the Stereo ¼” Footswitch Cable to the Front Panel ¼” jack labeled FOOTSWITCH using the supplied Stereo Cable.2.
Set the amplifier (and at least one speaker cabinet) on the floor you will be standing (or sitting on) while playing to complete the 3.
coupling circle that occurs. This will make the amplifier sound better, as well as feel better to play, because the sympathetic loop
created by the transmission from your hands to the guitar to the amp to your guitar to your hands remains unbroken.
Remember that when you are setting up the controls for Mode Switching with the Footswitch, using the controls in their middle 4.
to upper middle ranges (11:00 – 2:00) will provide the best Tone and volume levels between the Modes. This region helps the
compromise between sounds remain as small as possible.
When powering up (especially from cold), always allow the power tubes time to warm up before hitting them with high voltage 5.
(STANDBY ON and playing). Turn POWER to ON, wait at least 30 seconds, then turn STANDBY to ON.
The center mini toggle labeled FT SW provides manual access to the Channels when the Footswitch is not connected. Left calls 6.
up Channel 1, right calls up Channel 2. To use the Footswitch to access the Channels, select the FT SW (center position)
and connect the Footswitch to the jack on the left bottom of the Faceplate labeled FT SW.
A good general rule to follow; As the GAIN goes up, the BASS should come down. This will help prevent low-end flub and tubbi-7.
ness and keep the attack tracking tighter. This is especially true in the TOP BOOST Mode of Channel 1 and the TWEED Mode
of Channel 2 when searching for pushed sounds that lie somewhere between clean and dirty.
The CUT control in Channel 1 has a PULL MASTER function that allows you to run with the traditional “no master” architecture or, 8.
pull the CUT control and use that pot as a MASTER volume control for more overdriven sounds at lower playing volumes. When in
the MASTER-Active mode, the CUT control is hard-wired to a medium setting that is balanced between open and compressed.
PAGE 2
HELPFUL HINTS: (Continued)
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
BOOST
PULL
GAIN/
You will experience more footswitching noise (pop) when switching between Channels when only one is set to the 15W power 9.
setting. This is due to the more radical voltage changes that occur when knocking the power section down to the 15W level from
one of the higher power modes. (Using both Channels in 15W will not create excess noise as the voltage doesn’t change). May
we suggest when configuring your Channels for live performance footswitching applications, try using the 30 and 40W power
modes whenever possible as the voltage swings are not as great. This will provide the quietest footswitching performance.
It is normal to experience a slight increase in background hum when using the 30 watt Power Mode in Channel 1 NORMAL and 10.
TOP BOOST. This is a result of the power amp “listening harder” to the preamp because the Class A wiring of this Power Mode
has the output tubes biased “more on” even when they are not amplifying a signal.
Now that you have an overview of the TA-30, let’s get more specific with the Modes and controls to learn how they can help you
achieve the sounds you are looking for.
Th e MO d e s :
CHANNEL 1:
NORMAL:
bottom with a little more air and dimension. It works best for clean work and provides substantially more headroom than TOP BOOST.
TOP BOOST:
appeared in countless Boutique renderings of the last 20 years and is considered one of the must have staples in classic Rock guitar.
Out of respect we chose to refrain from treading on this hallowed ground until such time as we could bring something worthwhile to
the party… not to simply duplicate, but rather enhance this iconic sound. Well, with the inclusion of our patented Multi-Watt™ Channel Assignable Power and several other “trade secrets” we’ve unearthed over the last 40 years of amp design, the time has come to
redefine a classic. Only you can be the judge if we’ve added something beautiful to the original, but our comparisons and the comments of our brothers in tone around the world… including our English ones, leave us feeling pleased with a job well done.
TOP BOOST is great for many things from urgent jangly cleans with a bit of attitude, to full on saturated solo sounds, but probably
its greatest asset is seen when riding the edge of clip. This Mode can transition almost seamlessly from clean to saturation with just
the input from your pick - for there are many subtle graduations in the TA-30 within this historically small realm that now widen it to
create an entire empire - instead of a narrow, hard to fine-tune border region.
This mode takes its architecture from the TOP BOOST circuitry and removes gain, adds brightness and fills out the
NORMAL is the choice when you need more stripped urgent clean sounds that will tuck up nicely in a mix.
It is probably not the best choice for overdriven or clipped rhythm sounds as there is not quite enough gain
to smooth out the jagged edges, and because of the added brightness it can sound a bit toward the ragged
and buzzy when pushed too hard, especially with weaker pickups.
This Mode represents our tribute to the amazing legacy of the British darling VOX. The TOP BOOST circuit has
The choices found in the Multi-Watt Power switch greatly expand this edge of clip area and adds color to the mix along with harmonic
and volume changes. For the most traditional response the 15 and 30W settings will provide the best blend of characteristics and the
PAGE 3
Th e MO d e s : (Co n t i n u e d )
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
BOOST
PULL
GAIN/
best balance of volume versus clippability. If you’ve ever played an AC 15 or AC30 you will instantly fall into familiar territory where
the subtle changes in your picking can push things in and out of clip with amazing expression. The 15W and 30W Power Modes also
work well with TOP BOOST for using the guitar’s Volume control to take you from clean to varying degrees of saturation by rolling up
and down without losing the sweet harmonic top end spectrum.
The 15W Power Mode will provide a sweeter blend of upper harmonics and allow you to bring the onset of clip down to lower volume
levels. Watch the BASS control setting in 15W as the lower power is not capable of managing high levels of GAIN and BASS together.
If you intend to run the GAIN control high when in 15W, don’t be surprised to see your BASS control below 10:00 – or even off – to
achieve tight tracking bottom end response. The (Dyna-Watt) 40W Power Mode will respond the opposite way and allow you to run
both GAIN and BASS higher than in either 15W or 30W Modes. This mode is probably better suited to when you are using TOP
BOOST for either really clean (GAIN 10:00 or below) or really heavy sounds (GAIN above 3:00) where you need the bottom end tight
and percussive. In these two regions the extra power and headroom, along with the accentuation in the upper mids that comes with
this burst of attack-instant-voltage-release, really focuses things and adds authority.
CHANNEL 2:
TWEED:
This is the lowest gain of the three Modes in Channel 2 and is aimed at clean and edge of clip sounds. It draws the
framework of its circuit architecture from the early tweed amps from Southern Cal and then gets a healthy dose of magic from the 40
years of little secrets we’ve discovered to arrive at a beyond vintage level of Tone and performance.
When using TWEED for clean work the 30W and 40W (Dyna-Watt) Power Modes provide the best blend of
sparkle, warmth and headroom – with the 40W being the obvious choice for live performance high headroom clean situations. To explore the world of soft clip sounds in TWEED, set the GAIN high (3:00 – 5:30),
the BASS low (8:00 – 10:30) and ponder the differences between 15W and 30W until you find just the right
response for your needs.
Just keep in mind that it is always a good idea when looking for overdriven sounds, especially in the TWEED
and NORMAL Modes, to reduce the BASS setting as you increase the GAIN control. This will avoid flubbiness and keep the attack
tight and focused.
HI 1:
We’re back across the water again for a high gain tribute to the “other” great British amp and HI 1 captures all the tight attack,
thumpy, tight bottom and midrange cut that these amps are famous for. HI 1 is the choice anytime you need attack and a higher, quicker
feeling bottom end response.
Many players prefer this circuit for crunch or overdriven rhythmic playing, citing its percussive nature tracks tighter in the hands and is
more defined in a mix. It also shines for use with shorter scale mahogany guitars that have a woodier, throatier top end and more lower
midrange as a dominant part of their character.
When looking for single note solo sounds in HI 1 it may be necessary to run the TREBLE a little lower than you would for high gain chording, say somewhere in the 9:30 – 10:30 range to soften the attack and round out the notes a bit for a smoother more vocal character.
When dialing up lower gain sounds in HI 1, whether for chording or lead work, try setting the BASS rather high - 1:30 – 3:30 – to add air
and girth to the sound. In general you can apply the BASS a little more liberally in HI 1 than in some of the other Modes as the increased
upper midrange attack present here will keep things tighter longer and the frequency of BASS is a bit higher than in HI 2, so it can follow
the attack a little easier in the time domain.
As far as power-matching, HI 1 is pretty friendly with all three choices, however 30W and 40W showcase the classic Brit response best
with 30W leaning toward smoother soloing and 40W excelling at tight percussive chording. The 15W position works good for lower to
medium gain soloing, but don’t expect it to be as tight or percussive for the rhythmic work as the two higher power Multi-Watt Modes.
PAGE 4
Th e MO d e s : (Co n t i n u e d )
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
BOOST
PULL
GAIN/
HI 2:
Grab your suitcase, as again we cross the Atlantic on our tour of the world’s most classic guitar sounds. This time we’re back
to Sonoma County, famous for wine and high gain guitar sounds. HI 2 is all about Boogie. Smooth, round attack, molten sustain and
lined up layers of harmonics. This Mode is all about soloing. While you are welcome to explore its virtues for chording, it is single
notes that most benefit from the deeper lows, slightly tucked mids and higher harmonic landscape found in this classic sound.
In the Trans Atlantic however, for continuity’s sake, we’ve leaned just a pinch in the direction of HI 1 – slightly higher mid frequencies, a
little more attack and a touch higher BASS than in other Boogie lead modes for two reasons. First, lower power amplifiers are simply
not capable of pushing (steering/controlling) sub-low frequencies like their high power counterparts. They choke and lose definition
when the BASS is too low and use all their available power trying to drag the low frequencies around. Second, guitarists – for the
most part - are extremely conservative when it comes to sounds. Since most of us grew up listening to the same references, we want
to hear easily identifiable classic sounds that fit into a category when we try an amp or guitar. We’ve seen over the years that players
tend to stumble when there is a sound or mode in an amp that strays very far outside the “basic vibe” or style they perceive to be its
“thing”. For this reason we found it instantly more digestible to more players when we keep things more closely related.
So in HI 2 you will find all the desirable qualities of your favorite Boogie high gain Mode, but find them fine-tuned in a way that sits
beautifully alongside the British flavor of HI 1. Plenty of difference to be recognizable… but not so different that it sticks out and feels
out of place.
Power-wise HI 2 works well with all three Multi-Watt™ choices. For bold authority and the greatest dynamic content, the 40W Mode
would be the choice. If you want a more liquid feel and more upper harmonic content, 30W is your ticket. And for all out insanity at
lower volumes for tracking, there is always the 15W Mode with its greater potential to add power Tube overdrive/clip. Don’t overlook
the 15W setting for lower gain solo sounds… especially in the studio. Some awesome lower gain Blues sounds are possible by setting the GAIN control low, say 10:00 – 11:00 and cranking the MASTER in the 15W Mode. You might have to reduce the BASS a bit
to keep the attack focused, but it’s very expressive with a different harmonic signature than getting all the gain from the preamp.
POWER MODES: MULTI-WATT™ POWER
While the TA-30 is a veritable treasure chest of preamp sounds with the five different circuits tucked away in its hold, the Tone shaping
choices don’t, by any means, stop there. We always say “it’s 50% front end and 50% power”. The power section in any amp has a great
deal to do with its response, character and feel and the TA-30 is just as well endowed in the power play as it is with preamp choices.
Our patented Multi-Watt™ Power allows not only the choice of Class of Operation, but also a choice in Wiring Configuration. You get
when we released our STUDIO 22 combo. We’ve been using it ever since to shock people with an instantaneous burst of headroom
and power present at the attack of the notes.
Here in the 40 Watt Mode, a “surplus” of voltage is “stored-up” in the power supply and released in a flash – creating an instantaneous
burst of headroom - each time you hit the strings. This added headroom keeps the attack explosive and exciting. Then, as the power
supply is charging back up, you feel a juicy sag on the strings – just for an instant – and your fingers rejoice in an easy to play, yet
powerful-sounding dance within this time-specific field of electricity.
three distinctly different power sections – each with its own character and feel to link - per Channel - with the
preamp sounds you have crafted.
The TA-30 steps up the power of the TransAtlantic™ platform and brings it to a stage-ready place that can
cover all but the largest venues without the need for additional power. The patented Multi-Watt™ feature on
the TA-30 climbs the power scale by adding two more power tubes that create everything from classic 15 and
30 watt CLASS A choices, to our patented Dyna-Watt™ Power that pumps out 40 watts of almost unbelievable
headroom for this output rating. Dyna-Watt™ has been appearing on lower power MESA amplifiers since 1986
PAGE 5
Th e MO d e s : (Co n t i n u e d )
Be sure to check out the 40 Watt Mode for clean sounds in Channel 2 TWEED and tight-tracking crunch rhythm in HI 1. The headroom
and faster response of Dyna-Watt™ really empowers these two Modes and creates some bold, punchy and tight-tracking sounds.
15 WATT
This Mode, while it doesn’t posses the headroom of the other two choices, does transition to clip in a truly magical way. The soft-clip
region that appears before the sound becomes totally saturated is especially great for furry chording and purring, smooth single note
work. Both Modes in Channel 1 and the TWEED Mode in Channel 2 work extremely well for these styles and showcase the true
expressivness of this iconic power displacement.
30 WATT
classic Brit-style power section. With an obvious tip of the hat to the historically important AC30, the TransAtlantic allows you to apply
this vintage magic to all of the Preamp Modes in the TA-30 with equal and wonderful results. The added power of these “American-
voiced” preamp modes allows you to roam the globe instantaneously and use the 30 Watt Power Mode to create you own signature
sounds that combine the best qualities of both continents, amp-wise.
Be sure to check out the 30 Watt Mode for higher volume clipped rhythm sounds in both Modes of Channel 1 and single note solo
sounds in TOP BOOST. It also works great for clipped rhythm sounds in TWEED of Channel 2. Definitely explore the possibilities in
HI 1 and 2 as well, for this higher power, more gutsy CLASS A output delivers some “wickedly sweet” solo sounds with the right blend
of preamp gain and output drive.
40 WATT
it – at the attack of the note, and soulful little-amp bounce and sag as the note decays. This time-specific power response creates an
output section of incredible versatility. It shines for clean rhythm work because it shovels horsepower when you need to cut through the
mix, but also allows the sound to retain its vintage character and easy to play, inviting feel. Dyna-Watt™ adds chameleon-like adaptability to the overall package, allowing you to tune the power response to produce bold and authoritative statements that don’t hurt and
sound harsh. This patented Power Mode will widen the palette of sounds at your disposal as it works equally well for both clean and
overdriven applications.
This setting uses two of the four power tubes wired in CLASS A to produce the ultimate in sweet vintage clip-ability.
Also wired in CLASS A, the 30 Watt Mode utilizes all four output tubes for a bolder, tighter, more powerful version of this
This Mode is all about punch. As mentioned in the intro to this section, Dyna-Watt™ delivers punch when you need
Of special note are the Dyna-Watt™ applications for the NORMAL Mode in Channel 1 and all the Modes in Channel 2. The added
tight-tracking presence of the 40 Watt Mode enhances the clean sounds in NORMAL and TWEED - adding punch and headroom - while
also keeping the bass frequencies tighter and adding aggressive mids for high gain work in HI 1 and 2.
PAGE 6
INPUT:
FRONT PANEL: Controls & Features
INPUT
FT SW
INPUT
FT SW
VOLUME TREBLE BASS TREBLE BASS MASTER
POWER
STANDBY
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
ON
ON
MASTER
PULL
CUT / BOOST
PULL
GAIN/
™
-30
BYPASS
FX & REV
BYPASS
FX & REV
®
REVERB
REVERB
POWER
STANDBY
HI 1
ON
ON
PULL
GAIN/
™
-30
BYPASS
FX & REV
REVERB
This is the instrument INPUT jack. This jack feeds the preamp and since the Tr a n s aT l a n T i c is a high gain amplifier and
therefore very sensitive, always use a high quality shielded cable between the instrument and the amplifier. This will prevent unwanted
noise and microphonic cable sounds.
FOOTSWITCH:
This 1/4 inch stereo jack is for connection of the Channel Select Footswitch. When the FOOTSWITCH is con-
nected here with the provided stereo cable, the Channels and FX Loop can be controlled remotely.
VOLUME / GAIN:
These are the main front end controls in the preamp, no matter what Channel or Mode you are in, and they
meter the amount of tube drive or saturation present in the signal. These controls are called by different names (VOLUME) in Channel
1 and (GAIN) in Channel 2, but they function in the same way and do essentially the same job…
control the gain in the preamp. Their location in the circuit moves around depending on which Mode
is called up, but their function remains the same - they determine the attack character, headroom
and ultimately – how clean or dirty a given sound will be. For simplicity, from here forward we will
use the word GAIN to speak of the front end control in both Channels - even though it is labeled
VOLUME in Channel 1.
CH 1 CH 2
The GAIN also brings in and out upper harmonic content, depending on where it is set. As a general rule, the lower the setting – the more upper harmonics there are passing through. As you increase the GAIN, the natural tube
saturation and compression fills in the sound, making things darker and more “round”. This trait can be used to your advantage – and
in fact serves the practical applications well – as it means that lower gain clean sounds remain open and dynamic with abundant
harmonics, while higher gain lead sounds get more compressed, warmer and more vocal.
Using the GAIN control tastefully, with finesse and always with the Power Mode choice in mind is critical to achieving the best overall
Tone. Unlike a 100 watt amplifier, the TA-30 is often adding some amount of overdrive or soft-clip into the mix – that’s part of its
mid-wattage attraction – so it’s crucial to take that into account to keep your attack intact and preserve the dynamic content of your
sound.
IMPORTANT ! Many of the TA-30’s best sounds are found with the GAIN control set in its middle range – somewhere in the 11:00
– 2:00 region. You’ll be pleased to discover all the nuance and expression found here – especially when you learn to use the Power
Modes as part of your Tone Crafting regimen. You’ll quickly find so much shaping power across those three hours (11:00 – 2:00) on the
GAIN’s Tone Clock that you may seldom roam the higher regions as the balance between preamp and power is truly magical here.
If you do need to run the GAIN in its upper region for high gain heavy styles, then your best plan of action is to stick with the
40W Power Mode - as this will keep the low end as tight as possible and track the dynamic passages with more accuracy. However,
PAGE 7
don’t expect the same type of response you would find with these heavier sounds as you would from a 100 watt amp. The TA-30 is
FRONT PANEL: Controls & Features
(Continued)
POWER
STANDBY
NORMAL
15 15
HI 1
TOP BST
25W
FT
SW
5W
TWEED
HI 2
25W
5W
ON
ON
MASTER
PULL
CUT /
™
-15
POWER
STANDBY
HI 1
ON
ON
PULL
GAIN/
™
-30
BYPASS
FX & REV
REVERB
indeed mighty in its class… but those little EL84’s can’t handle massive amounts of both preamp gain and huge low end like an amp
running the larger octal-based 6L6 or EL34 type power tubes. Running the GAIN control high in the 30W and 15W Modes in perfectly
fine to do, it just won’t keep the attack as focused… especially when you increase the playing loudness.
NOTE - CHANNEL 1: In Channel 1 the VOLUME control is both the front end (GAIN) control and the playing loudness or “master”
control as well. We wanted to pay tribute to these sounds in the most reverent way and there was no master volume control on the
original amplifiers - so as you turn up the VOLUME control in CHANNEL 1 - you are adding (gain) saturation AND turning up the
playing volume. Purists have long identified with this “no master” scheme - citing its more urgent response, clarity and dynamic touch
sensitivity. We agree with these observations to some degree – for these types of circuits – but there is little doubt that the trade-off
for this stripped “no-master” approach is difficult to overlook when it comes to the flexibility department.
So we gave you a choice by including a cool new feature for this type of circuit. When you need the old-school response of the original
“no-master” scheme and the gain versus volume issues that inherently arise from this scenario are not a problem… crank it up and
Rock!
But for those times when you do need control over the gain and saturation independent of the playing volume… pull the CUT control
out and… problem solved, you now have a MASTER volume control! The CUT is preset to about 1/3 of the way on (rolling off just a
little top end) and the same pot now functions as a fully independent MASTER volume control.
Again…Pushed In, the CUT/PULL MASTER control functions as a CUT control (rolling off high frequencies as you increase the
control clockwise - almost like a reverse PRESENCE control). Pulled Out, the CUT/PULL MASTER control becomes an indepen-
dent MASTER volume.
This “mod” to the original “vintage” architecture greatly enhances the flexibility of both NORMAL and TOP BOOST Modes and allows you to use
them for many more sounds and footswitchable scenarios. It opens up the landscape for these sounds to be applied in new ways and allows
them to interface to the modern world of footswitchable sounds and yet retain their expressive charm and harmonic identity.
CHANNEL 2: GAIN / PULL BOOST
The TA-30 incorporates a new GAIN BOOST feature appearing as a pull-pot on Channel 2’s GAIN control. This
powerful feature takes the TA-30 into new and uncharted high-gain waters, enabling it to scuttle even the most extreme
Rock and Metal sounds with one well-aimed pull of the GAIN pot pull-trigger. The boost of focused gain across a
well defined region empowers all three Modes in Channel 2 (though slightly less radical in TWEED) and delivers a
take-no-prisoners assault on the senses…especially in the HI 1 and 2 Modes. Just remember to adjust the BASS
control accordingly – especially as you use the BOOST in the higher region of the GAIN control to avoid flubbiness
and retain the focus and clarity of the attack.
TREBLE:
This control, while being the second most powerful control in the preamp, is very simple to operate… and when you’ve
dialed in a little too much, it’s easy to tell right away. The TREBLE controls how much of the high frequencies in the preamp will be
blended into the signal. This is another control to use in the middle ranges to produce the best balance of tone and
noise. The TREBLE can bring in unwanted noise (hiss) when set to the extreme high end of its range (3:00 – 5:30)
so avoid setting the TREBLE this high whenever possible.
Like the GAIN, the best sounds are found with the TREBLE in its middle range where an equal blend of highs from
here are mixed in with the lows from the BASS (and GAIN). If you need things brighter in CHANNEL 1 - try leaving
the CUT control set low (9:00 – 7:00). The top end that comes from there comes later down the line in the signal
path - closer to the power section - and will produce less likelihood of noise and task the preamp tubes less.
PAGE 8
Very high settings of the TREBLE control will increase the likelihood of microphonic tubes to start making noise and begin ringing or
FRONT PANEL: Controls & Features
(Continued)
POWER
STANDBY
NORMAL
15 15
HI 1
TOP BST
25W
FT
SW
5W
TWEED
HI 2
25W
5W
ON
ON
MASTER
PULL
CUT /
™
-15
FX & REV
REVERB
feeding back. It just adds too much top end into the signal path early and this is then amplified again and again making any sensitive
tubes show their weaker side. This will be most critical in TOP BOOST in Channel 1 and both HI 1 and HI 2 in Channel 2 where the
higher gain present will put more scrutiny on the preamp tubes.
In the TOP BOOST Mode of Channel 1 and the HI 1 Mode of Channel 2 you may find that the TREBLE wants to be set a bit lower
than in some of the other modes and it is not uncommon to find it set below11:00 for many great sounds… especially solo tones.
BASS:
The BASS is probably the simplest control on the TA-30 and it simply dials in low frequencies to the mix in the preamp sec-
tion. It is a less “volatile” Tone control than the TREBLE in that high settings will only cause an unbalanced sound, and not some other
“stress” issue on the tubes. There is not really even a danger in speaker damage due to extreme settings as there
might be in some higher power amps - as the power available in the TA-30 is not usually considered high enough
to be dangerous to most speakers with the exception of possibly the most extreme volume settings in the 40 watt
Power Mode with low wattage speakers.
Really, the main thing to keep in mind regarding the setting of the BASS control is to avoid dialing in too much and
creating a flubby sound with compromised attack characteristics. Remember the old rule we mentioned earlier in
the HELPFUL HINTS section… as the GAIN goes up the BASS should come down. While this is pretty general and
maybe too all-encompassing, keeping it in mind will help you get to a great sound faster.
It is especially important not to run the BASS too high when searching for clipped sounds in the NORMAL (and sometimes TOP
BOOST) Mode of Channel 1 and the TWEED Mode of Channel 2. When the GAIN is maxed out here things can get kind of ugly in
the low end fast.
REVERB:
This rotary pot controls the mix of the REVERB effect and allows you to dial in the perfect amount of sweet, all-tube,
analog spring Reverb. This control will only affect the sound when the REVERB circuit is switched into the signal path by taking both
the REVERB and EFFECTS LOOP out of the BYPASS Mode. To activate the REVERB and the EFFECTS LOOP,
select FX & REV on each Channel’s REV/LOOP mini-toggle just to the left and right of the center cluster of Preamp
and Power switches.
Any amount of the Reverb effect can be dialed in here… from a faint, ambient background embellishment all the way
up to a fully drenched “surf” effect where the notes swirl in a cavernous wash of ringing harmonics.
There is a REVERB BYPASS jack on the Rear Panel (Bottom Rear Of Combo Chassis) that accepts a standard ¼ “
phono plug and by connecting a simple tip-to-ground type latching switch to this jack the REVERB can be triggered on and off. The
EFFECTS LOOP must still be in the circuit for the REVERB to work and triggering this REVERB jack with the FX & REV switch in
BYPASS will not turn the REVERB On.
NOTE: REVERB Footswitches are available through your local MESA/Boogie Dealer or if you live too far from one, from us directly.
NOTE: USE ONLY SHIELDED CABLE FOR THE REVERB BYPASS FOOTSWITCH.
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FX & REV / BYPASS:
FRONT PANEL: Controls & Features
(Continued)
FX & REV
REVERB
This mini-toggle is responsible for engaging both the EFFECTS LOOP circuitry and the analog all-tube
REVERB circuit. With a simple flick of a switch the entire signal path is re-routed at the end of both Channel 1 and Channel 2’s
preamp and additional tube stages are inserted to accommodate the EFFECTS LOOP’s SEND and RETURN
stages as well as the REVERB’s send and return path. This might sound like basic architecture found in virtually all modern amplifiers, but the TA-30 presented a huge challenge when it comes to interfacing these two
commonplace insert points.
The hurdle lies in combining Channel 1- whose vintage architecture provides no place to derive or re-insert
Reverb and Loop circuitry, coupled with a power section that relies on a super-sensitive “input/driver” and no
negative feedback – and Channel 2 that employs a more modern power section that is less sensitive and has
negative feedback. The difference in power sensitivity is huge and attaining a suitable balance between these two power section
responses is very tricky. And yet essential, since the LOOP and REVERB circuitry must be mixed back in right at this junction in spite
of the opposite character of their response.
Luckily that’s what we been doing for the last 40 years. Solving problems just like these and creating a new way to achieve what you
need when you step on the proverbial footswitch. Delivering Tone without compromise and seamless interfacing.
You will notice very little if any tonal difference between the FX & REV position of the switch and BYPASS. Countless hours went into
achieving that. If you do hear a difference, it is probable that you will have the same opinion that all of us and the players we polled
had… the Loop and Rev add a small amount of tube “sauce” or “juice” that is preferable as it seems to extend both Low end and high
end response and increase “three-dimensionality” a tiny bit. Most leave the Loop and Rev engaged all the time.
Both SEND and RETURN jacks (found on the Rear Panel of the Head and Bottom Panel of the Combo) are switching type jacks that
close (connect) the Loop circuitry when nothing is inserted (no outboard effects processing used) into the EFFECTS LOOP.
NOTE: If you intend to use the EFFECTS LOOP as a patch point – either for a preamp send (from the SEND jack) or a power amp
input (into the RETURN jack) – you must have a plug inserted into BOTH SEND and RETURN jacks to open the circuit. You can just
use a guitar cable and leave the other end hanging or a shorted plug… just so long as something is inserted into the unused jack.
When you engage the FX & REV circuitry and trigger the LOOP “on” from the Footswitch, you are essentially taking the SEND and
RETURN jacks in and out of the signal path - meanwhile the Loop circuitry is remaining in the signal path at all times. This is essential
to allow the REVERB circuit to remain in the signal path even when the Loop is not in use.
It is normal to experience an increase in background noise (hum) when engaging the LOOP and REV in Channel 1 – especially in the
30 Watt Power selection. This is a result of the increased sensitivity and added gain in the driver/power section of Channel 1.
It is also normal to experience a “trailing pop” from the Channel Select Footswitch (or manual Front Panel Toggle) when switching back
to Channel 1 with a Delay (or very long Digital Reverb sounds) in the Loop. The higher the setting of the Delay mix (a very wet blend)
dialed up, the more pop you will most likely experience. This “trailing pop” will be exacerbated by settings between the Channels that
see the Channel1 VOLUME (and/or CUT/MASTER pulled) at a higher volume (listening) level than that of Channel 2.
This audible pop in the delay sound is again the result of added driver sensitivity and gain in Channel 1’s power section and unavoidable due to it’s vintage no-master circuit architecture and sonic character. This “delayed pop” is caused by the miniscule click of the
switching relay being amplified greatly when switching from a return/driver stage that utilizes negative feedback and where the power
sensitivity is lower gain and “more normal” (Channel 2)… to a very different return/driver stage with no negative feedback and huge
gain (Channel 1).
This is one of the many challenges - and unfortunately unsolvable quirks, due to plain physics, of combining vintage architecture with
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