Mesa Boogie Triaxis User Manual

M

ESA

OOGIE

B

Owner’s Manual

The Spirit of Art in Technology

1317 Ross Street Petaluma, CA 94954

USA

Hello from the Tone Farm...

...You, smart player and all around intuitive human, have put your trust in us to be your
amplifier company. This is something we do not take lightly. Our reward is that we've
made a classic amplifier and by choosing this amplifier, you have become part of the
MESA family...WELCOME! Our goal is to never let you down. Your reward is that you
are now the owner of an archetypal guitar pre-amp, bred of fine all tube amp
heritage...benefiting from the many pioneering and patented MESA circuits that led to the
refinement of your new instrument. Feel confident, as we do, this amp will inspire many
hours of musical satisfaction and lasting enjoyment. It was built with you in mind, by
players who know the value of a fine musical instrument and the commitment it takes to
make great music. The same commitment to quality, value and support we make to
you...our new friend.

Your MESA/Boogie Amplifer is a professional instrument. Please treat it with respect and operate it properly.

USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:

Do not expose amplifier to moisture, rain or water,
direct sunlight or extremely high temperaturres.

Always insure that amplifier is properly grounded.

Always unplug AC power cord before changing fuse
or any tubes.

Avoid direct contact with heated tubes.

Insure adequate air circulation behind amplifier.

Keep amplifier away from children.

Besure to connect to an AC power supply that meets
the power supply specifications listed on the rear
panel of the unit.

If there is any danger of lightning occurring nearby,
remove the power plug from the wall socket in ad­vance.

To avoid damaging your speakers and other play­back equipment, turn off the power of all related
equipment before making the connections.

Do not use excessive force in handling control but­tons, switches and controls.

Remove the power plug from the AC mains socket if
the unit is to be stored for an extended period of
time.

YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE

PERMANENT HEARING DAMAGE!

No user serviceable parts inside. Refer service to qualified personnel. Always unplug

AC POWER BEFORE REMOVING CHASSIS.

EXPORT MODELS: Always insure that the unit is wired for the proper voltage.

Make certain grounding conforms with local standards.

READ AND FOLLOW ALL INSTRUCTIONS OF PROPER USAGE.

TABLE OF CONTENTS

FRONT PANEL

EDITING: PRESETS / PROGRAMS / PARAMETERS

TO COPY and MODE SELECTION
MAPPING: PRESET / PROGRAM

PROGRAM / CHANNEL WINDOW

CHANGING MIDI CHANNEL

DATA DUMP

DEFEAT FACTORY PRESETS / RECALL FACTORY PRESETS

REAR PANEL

PHANTOM POWER
MIDI CONNECTIONS: IN / THRU / OUT

PAGE

1 - 2
3

2

3

4
4 - 5

5

6

6

A.C. POWER : GROUND / LIFT

EXTERNAL SWITCH JACKS and RECORD OUT

MAIN OUT

FX LOOP

OPERATIONS

THE CONTROLS: PARAMETERS
THE MODES: DESCRIPTION / USES
VERSION 2.0: CONTINUOUS CONTROL SOFTWARE

TUBE TASKS / PLACEMENT / DIMENSIONS / SPECIFICATIONS

WIRING DIAGRAMS

FACTORY PRESET LIST & SETTINGS 1 thru 10SAMPLE SETS

PERSONAL SETTINGS PAGES

1

6

7

7

8 - 11

12 - 20

21 - 26

27

28 - 35

36 - 37

38 - 39

PARTS SHEET & PANEL IDENTIFICATION PAGE

40

TURN POWER ON AT REAR OF UNIT:

ON/GROUND position first (switch down). If hum is noticed in the sound, then try the ON/LIFT

ON/LIFT

position. Whenever possible it is best to use the grounded position for many reasons unless having
TriAxis grounded creates noise problems such as buzz or AC hum.

NOTE: The A.C. power for TriAxis should be derived from the same power strip as that of the power

OFF

ON GROUND

amp in use. Any effects units used should also be plugged into this same strip. This close proximity
of A.C. power supply for units within a system will prevent TONE degradation. Failure to follow this
wiring scheme may result in harsh or excessively bright tonal characteristics.

NOTE: The AC Power Switch is a 3 position - center off type switch. Always try the

RUN THROUGH FACTORY PRESETS 1-10

To do so use the Preset
very different unless TriAxis Switch 1 Jack is connected to a Mesa Switch

COPY

PRESET

NUMBER

ENTR

PROGRAM/CHANNELPRESET

EXIT

TO INCREASE OR DECREASE

ENTR

EXIT

PRESET

PROGRAM/CHANNEL

PGM

/CH

0

123456789

PGM

/CH

0

Presets, Programs or Parameters use any of the arrowed keys.

Track power amp and Track Switching is used.)

NOTE : Factory presets 1 thru 20 are Loaded automatically during power­up, but can be disabled or reloaded manually by user when defeat proce­dure is followed...see page 4 for directions.

BASSMIDDLETREBLEGAIN

TO ENTER AND SAVE NEW PARAMETER SETTINGS

one time Preset flashes to indicate it will be overwritten when you press

COPY

ENTR

EXIT

4

FLASHES

PRESET

PROGRAM/ CH

time. If you happen to change your mind or wish to hear the original preset, press the
key while PRESET is flashing to return to the original settings and void any changes you
had made.

keys. (Notice that 11-20 do not sound

PRESENCEMASTERLEAD 2 DRIVELEAD 1 DRIVE

DYNAMIC VOICE

to an existing preset, press the

RHY

LD1

LD2

B

OOGIE

SW

1 2 3 4
FX LOOP

ENTR

key a second

ESA

M

ALL TUBE PREAMPLIFIER

ENTR

key two times. If pressed

2

3

1

OUTPUT

5

4

0

A B

6

10

EXIT

7

8

9

TO ACTIVATE PROGRAMMABLE FX LOOP AND FUNCTION SWITCHES:

LOOP

SW

ESA

OOGIE

M

ALL TUBE PREAMPLIFIER

B

RHY

LD1

LD2

SW

1 2 3 4
FX LOOP

3

2

1

OUTPUT

5

4

0

A B

6

7

8

9

10

sequence through all the possible LOOP/SWITCH combinations.

ENTR

Press the

key two times when the desired combination has

been selected to store this combination.

PAGE1

Press the

LOOP

key. This allows you to

SW

FRONT PANEL:

(Continued)

TO ACCESS PROGRAMS (via the numeric keys)

COPY

ENTR

FLASH

PGM

/CH

01 23

TO ACCESS PRESETS (via the numeric keys)

COPY

ENTR

FLASH

PGM

/CH

01 23

1. Press the

TREBLEGAINPROGRAM/CHANNELPRESET

1. Press the

TREBLEGAINPROGRAM/CHANNELPRESET

SHIFT

key one time to access the programs.

2. Select PROGRAM using nu­meric keys located below GAIN,

SHIFT

TREBLE, MIDDLE, BASS, and
LEAD DRIVE windows.

ESA

OOGIE

B

M

3. Press the

ENTR

key one time to

ALL TUBE PREAMPLIFIER

access new PROGRAM number
and audition the PRESET listed at
that location.

SHIFT

key two times to make PRESET the active window, then
select the new PRESET using the nu­meric keys once again.

SHIFT

2. Press the

ENTR

key one time to listen

to the displayed flashing PRESET.

ESA

OOGIE

B

3. Press the

ENTR

key two times to write

M

ALL TUBE PREAMPLIFIER

displayed flashing PRESET to displayed
PROGRAM number.

MAPPING A PRESET TO A PROGRAM

First understand that PRESETS are “SOUNDS” and that PROGRAMS are “Midi

PROGRAM LOCATIONS.”

COPY

ENTR

EXIT

PRESET

NUMBER

PROGRAM

NUMBER

PGM

/CH

TREBLEGAINPROGRAM/CHANNELPRESET

01 23

2. Choose the desired PRESET “sound” you wish to list under the Program Location number using

1. Call up the PROGRAM LOCATION number that you
wish to write using the

keys directly under the PRO­GRAM / CHANNEL window, a Midi Controller, or by using
the numeric keys located directly under the GAIN thru LEAD
1 DRIVE keys.

keys directly under the
PRESETwindow. Now you should see the PRESET you wish to map in the PRESETwindow and the Program Number you wish to
write this PRESET under, in the PROGRAM / CHANNEL window.

3. Press the

ENTR

key two times. Procedure is now complete.

PAGE 2

ENTR

FRONT PANEL:

(Continued)

COPY FEATURE

COPY

ENTR

FLASH

EXIT

To copy one PRESET to another PRESET location: 1. Choose the PRESET you wish to copy.

2. Press

SHIFT

key and then press

key. This “Source” PRESET now

SHIFT

flashes four times.

TREBLEGAINPROGRAM/CHANNELPRESET

PGM

/CH

01 23

3. Select the “Destination” PRESET
using numeric keys located below the

ESA

M

ALL TUBE PREAMPLIFIER

OOGIE

B

GAIN thru LEAD 1 DRIVE windows.
You will now see the Destination PRE­SET in the PRESET window.

ENTR

4. Press

key one time. The Destination PRESET now flashes indicating that the contents of the Destination PRESET will be
replaced by the “Source” PRESET parameters. (If you want to stop this copy procedure and avoid overwriting the Destination
PRESET, press the

5. To complete the copy procedure, press the

EXIT

key and return to the “Source” PRESET.)

ENTR

copy key one more time. The “Source” PRESET is now copied to the Destina­tion PRESET and the PRESET display returns immediately to the “Source” PRESET. If you wish to check your work, toggle back
to the destination PRESET and confirm the parameter values were copied.

MODE SELECTION

DYNAMIC VOICE

ESA

M

ALL TUBE PREAMPLIFIER

To sequence through the 8 modes, press the

3

2

1

OUTPUT

5

4

0

A B

6

7

8

9

10

OOGIE

B

MODE

RHY

LD1

LD2

SW

1 2 3 4
FX LOOP

MODE

key each time to select a new mode.

NOTE: Keep in mind the settings do not change with the

MODE

key, so if something sounds strange or if no sound is

heard, check Mode/Parameter settings.

THE MODES ARE SHAPED AS FOLLOWS:

Rhy-Green=Vintage Fat Rhythm Lead 1 - Red = Dual Rectifier Vintage Channel

Rhy-Yellow=Modern Bright Rhy Lead 2 - Green = Mid Gain MK IV Lead
Lead 1-Green=Vintage Mark 1 Lead Lead 2 - Yellow = Classic MKII Lead (MK II-V)
Lead 1-Yellow=Gain Boost MK I Ld. Lead 2 - Red = Searing MKIII Lead

(For greater detail on individual modes, see the modes section in this manual)

PROGRAM / CHANNEL WINDOW

Feedback to the user regarding current Midi Program Number or current Midi Channel is

displayed in this window.

COPY

CHANNEL

NUMBER

PROGRAM/CHANNELPRESET

PGM

/CH

NOTE: Remember User PRESETS are not to be confused with Midi Programs. Pre­sets are created by you (or at the factory) and can then be assigned to a Midi Program
number. In other words; Presets are sounds and Programs are Locations.

PAGE 3

FRONT PANEL:

(Continued)

PROGRAM / CHANNEL WINDOW: (Continued)

NOTE: From Power-up, the Midi Program number last used appears in

the PROGRAM / CHANNEL window. To view the current Midi Channel
that TriAxis is set to receive Program Change commands on...Press the
current Midi Channel and the channel number flashes. Press the

PGM

/CH

REMINDER...The Midi Channel will not be displayed uinless you push the

PGM

TO CHANGE MIDI CHANNEL NUMBER

Press the

key. The PROGRAM display now indicates current Midi Channel

/CH

PGM

key below this window.The display changes to the

/CH

key to retrurn to the current Midi Program number.

PGM

button.

/CH

number by flashing.

COPY

CURRENT

ENTR

PRESET

EXIT

MIDI NO.

PROGRAM/CHANNEL

PGM

/CH

MIDI SYSTEM EXCLUSIVE DATA DUMP FEATURE

Use the

keys to change the CHANNEL number. When the desired chan-

nel is reached, press the

All of the information stored in memory, including PRESET/PROGRAM

PGM

key to return the display to the PROGRAM number.

/CH

combinations and LOOP/SWITCH settings, may be dumped to an external storage medium such as an “Alesis Data Disk”, personal
computer or any other system with a Midi port and hard or floppy disk storage capabilities. These settings (information) can then be
retrieved and loaded back into memory from the storage medium, providing backup and/or limitless expansion of the TriAxis memory.

NOTE: The manufacture’s system exclusive identification code number for the TriAxis is 00004A. In case you ever need to list your
files on a personal computer, this would be a possible title. However, the majority of owners will probably never need this number.

TRANSMIT DATA DUMP RECEIVE:

1. Connect a 5-Pin DIN cable from the TriAxis Midi Out Jack. Follow instructions as
to how to set the storage medium’s Midi IN port to the receive ready state.

COPY

ENTR

EXIT

4

FLASHES

ON/LIFT

2. Press the

SHIFT

key and then the PRESET down key

(arrowed key facing to the left) on the TriAxis. You will now

PROGRAM/CHANNELPRESET

PGM

/CH

MIDI

IN

THRU

see the PRESET window display flash four times, indicating
the “Dump” has been completed.

NOTE: You may possibly see the I.D. number appear on the screen of the

OUT

destination unit and then something like “Dump Completed.” The whole pro-

SHIFT

ESA

OOGIE

B

M

ALL TUBE PREAMPLIFIER

cedure takes about 500 milliseconds and all the information in the TriAxis
memory is still intact. At this time you may write new presets knowing that all

OFF

ON GROUND

of your previous presets are safely backed up.

PAGE 4

FRONT PANEL:

(Continued)

RECEIVE

(Loading)

To load all of your previously written sounds and information into the TriAxis, the procedure is very

simple!

COPY

4

FLASHES

PROGRAM/CHANNELPRESET

GAIN

1. Connect storage medium’s Midi Out jack to the TriAxis Midi IN jack.

2. Make sure storage medium is set to transmit the correct information (file)

3. Make sure the PRESETS currently in TriAxis are “Backed Up”, as the load
you are preparing to do will erase all existing information in the TriAxis memory.

REAR PANEL

4. Key in Transmit or Send on the storage medium. The previously stored

ON/LIFT

IN

info will be loaded into TriAxis. The PRESET display window will flash four
times confirming that the transmission has been received.

MIDI IN JACK

OFF

ON GROUND

DEFEAT /RECALL OF FACTORY PRESETS 01 -20

If you run out of Preset Memory using Presets 21 - 90 or you simply
prefer to start writing your sounds at Preset 01, the first 20 factory
presets may be overwritten and yet recalled for future comparison.

LOOP

SHIFT

SW

ESA

OOGIE

ESA

B

OOGIE

B

MODESHIFT

M

ALL TUBE PREAMPLIFIER

M

ALL TUBE PREAMPLIFIER

RHY

LD1

LD2

SW

RHY

LD1

LD2

SW

1 2 3 4
FX LOOP

1 2 3 4
FX LOOP

2

1

2

3

3

1

OUTPUT

4

0

A B

OUTPUT

4

0

A B

5

6

7

8

9

10

1. DEFEAT: Press the
factory preset power load-up command and makes it possible to write mode
and parameter settings of your choice into PRESET locations 01 through 20.
Remember the factory PRESETS will stay in these locations until you follow
this procedure to defeat them.

SHIFT

key once, then the

2. RECALL: To recall the factory PRESETS in their entirety, press the

5

6

7

9

10

key once, then press the
previously stored information in PRESETS 1 - 20, so be sure you have BACKED

8

UP your memory if these are important PRESETS in these PROGRAM / LO­CATIONS.

MODE

Key. Bear in mind this command wipes out all

LOOP

key. This defeats the

SW

SHIFT

PAGE 5

REAR PANEL

PHANTOM POWER

The coax power jack above the A.C. line cord can provide power to a Midi foot controller, through the 7

pinMidi IN jack. This is accomplished by connecting an external A.C. to

ON/LIFT

IN

MIDI

THRU OUT

D.C. power adapter of correct voltage and polarity for whatever type of
foot controller you are using to the coax jack on the rear panel of TriAxis.

The Mesa/Boogie Abucus foot controller requires the following power

OFF

ON GROUND

requirements: 12 Volts @ 500 ma, Tip = Ground and Sleeve = Positive.

Connect a 7-pin DIN cable between the Midi In jack on the TriAxis and the

Midi Out jack on the foot controller. This negates the need for a clumsy power adaptor on the stage.

NOTE: 7 -Pin DIN cable will not fit into 5-Pin DIN jacks. Check to see that your foot controller accepts 7-Pin DIN cables and is wired
to accept Power in this manner...and of the proper voltage match to TriAxis’ phantom power output.

MIDI IN, THRU AND OUT JACKS

TriAxis provides the standard “Midi Interface” via these three jacks. Connect the 7-Pin

DIN to the Abacus or similar foot contoller. Then connect the next device’s Midi In jack to TriAxis Midi THRU jack.

ON/LIFT

MIDI

IN

THRU OUT

TriAxis’s Midi “THRU” and Midi OUT jacks mirror all incoming Midi mes­sages. The “THRU” jack will not send Data Dump or other similar com­mand information. Use the Midi “OUT” for all such commands. The “OUT”
also sends Midi program change messages when the Program keys are

OFF

ON GROUND

used on TriAxis’ Front Panel.

SWITCH

Switch Jacks 1 through 4 provide “Tip to Ground” function switches for controlling or activating external devices such

as the “Switch-Track” voicing features that are incorporated into Mesa/Boogie Switch Track power amplifiers. They will also control

many, but not all, Bypass, Hold, Mute etc. func-

ON/LIFT

IN

MIDI

THRU

OUT

SWITCH

1

3

tion jacks found on many Non-Mesa products
that do not use momentary logic. If they do not
control a device that you own, we suggest call­ing that devices manufacture for specific volt­age requirements, as TriAxis may not provide
“ground” needed to control the particular device.

RECORD

2

OFF

ON GROUND

4

These jacks provide direct stereo interfacing to recording or live mixing consoles. They faithfully reproduce both lead

and rhythm sounds similar to those you are accustomed to hearing from your power amp

SWITCH

1

RECORD

3

and speakers. The output level is determined by the front panel programmable MASTER
control setting. At extreme settings it may be possible to overload the console’s input
circuit. Medium Master control settings are probably sufficient for most situations. Check

2

4

your levels.

PAGE 6

REAR PANEL:

(Continued)

OUTPUT

These A/B jacks provide two outputs, left and right, for interfacing to power amplifiers or directly to your effects units.

ON/LIFT

IN

THRU

OUT

MIDI

SWITCH

1

2

RECORD OUTPUT

3

4

A

B

OFF

ON GROUND

FX LOOP

These jacks provide a Mono send and Stereo return effects loop configuration. The LOOP is programmable via
the LOOP/SWITCH and ENTER keys located on the Font Panel (see illustration below) and its’ status determined per PRESET. The
Front Panel programmable MASTER control determines the FX SEND LEVEL.

ON/LIFT

OFF

ON GROUND

IN

THRU OUT

MIDI

SWITCH

1

2

3

4

RECORD OUTPUT

RETURN

FX LOOP

SEND

A

B

Press the

LOOP

Key to toggle between the desired combination of FX LOOP and Function Switches on a given PRESET/PROGRAM

SW

combination. To write this combination, Press the
displayed PRESET PROGRAM.

ENTER

ENTR

INSTRUMENT INPUT

PRESET

ON/LIFT

ON GROUND

OFF

PROGRAM/CHANNEL

MIDI

IN

THRU

PGM

/CH

0

12

3

4

The instrument jack is located to the far right on the Rear Panel.

SWITCH RECORD OUTPUT RETURN

OUT

1

2

3

4

ENTR

key two times. This LOOP/SWITCH combination is now stored under the

LOOP / SWITCH

SW

B

OOGIE

RHY

LD1

LD2

SW

BASSMIDDLETREBLEGAIN

56

7

89

LOOP

LEAD 2 DRIVELEAD 1 DRIVE

MASTER

PRESENCE

DYNAMIC VOICE

ESA

M

ALL TUBE PREAMPLIFIER

PROGRAMMABLE MASTER VOLUME:
Also acts as an FX Send Level Control.

FX LOOP

SEND

A

B

1

234

FX LOOP

OUTPUT

5

6

4

7

3

2

8

1

9

10

0

A B

INST

INPUT

PAGE 7

THE CONTROLS

2.0

8.0

3.0

8.0

GAIN TREBLE MIDDLE BASS

0

1

23

4

5

67 89

LEAD 1 DRIVE

PRESENCEMASTERLEAD 2 DRIVE

DYNAMIC VOICE

This is by far the most critical and powerful of the controls in TriAxis. It not only determines the overall gain amount,
shape and sensitivity of each mode...but it is sort of a Tone control as well. Generally speaking, whatever is dialed
here ultimately determines the mode’s personality. Set low, it allows “cleaner” brighter sounds with enhanced

GAIN

dynamic response, especially in the higher frequencies. Set high the whole personality of the mode becomes
fatter and more overdriven. In TriAxis we worked hard to make sure the entire range of the Gain is usable and
more importantly, musical. Don’t think for a moment that this simple layout limits you as to the amount and texture

1

0

of gain. Long neurotic hours were spent to ensure the frequencies, as well as the ranges, of gain available here
were stylistically accurate. It’s probably good to mention here that most of the great sounds can be found by
setting the GAIN control moderately, especially in the 6 Lead modes. For example, somewhere between

and

in the Lead modes, and between

and

in the Rhythm modes. This reduces the likelihood of pesky tube micro­phonic problems occuring while at the same time making the modes easier to balance with each other in regards to volume and
effects send level strength.

As with most all tube guitar amplifier, the TREBLE control is the strongest of the three tone controls. Its’ setting in
the TriAxis determines the blend and strength of the MIDDLE and BASS controls. Set high, it is the dominant
control, minimizing the amount of MID and BASS possible in the mix. Set low the TREBLE becomes the recessive
control and a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to produce the

TREBLE

best results.

23

The MID control determines midrange punch and boldness in lower gain sounds and a smooth “vocal” blend in high
gain sounds. It can be very effective in acting as a “cut through the band control” in certain situations. Dial to taste,
remembering that the setting of the TREBLE control greatly effects its’ strength. However...there is an

MIDDLE

exception...in the LEAD 1 Red mode the MID control is extremely powerful. Its action may be likened to that of
the TREBLE control in all the other modes. The MID can completely re-shape the entire personality of this pre-tone
gain mode simply by setting it either very low or very high. This difference is because in the other 7 modes, a

5

4

standard MID value pot and circuit placement scheme is in place. When the Lead1 Red mode is selected, the MID
control changes drastically and its placement in the circuit is moved.

Setting the MID very low in this mode scoops all the attack and lends a spongy liquid character to the sound. This type of setting works
very well for single note work or very low gain rhythm playing. The strings will seem easier to play if the Mids are kept low in the Lead
1 Red mode. Setting the MID control high in Lead 1 Red adds extreme attack and aggression. In this range of settings, the GAIN and
LEAD DRIVE controls can be set relatively high before any mush or lack of articulation is noticed. This type of MID setting also helps

PAGE 8

THE CONTROLS

5.0

the bottom end stay tight - even at rather high BASS control settings. Harmonic “chirping” and “held” note “harmonic
leaping” are easier to obtain with higher settings of the MID control. In short, the MID control acts as the dominant
tone shaping control in the LEAD 1 Red mode.

MIDDLE

5

4

This control blends in the lower frequencies and its’ effectiveness, again, depends on the setting of the TREBLE
control. It should be set with moderation as extreme settings in either low or high directions can produce an unbal­anced tone. Be especially careful in higher gain settings of all modes except Lead 1 Red. Too much Bass will cause

BASS

6

7

a flabby, unfocused sound that can’t be dialed out elsewhere because excessive Bass has been introduced early on
in the circuit. Try setting the BASS control to
when dialing up high gain overdrive sounds in these nodes. In the Lead modes, try setting the BASS somewhere
between
has its’ own dedicated range of the BASS control,
the other 7 modes. See explanation in the Modes section of this manual under “Lead 1 Red.”

(continued)

and

3.0

or

4.0

depending on the amount of Gain and Treble that’s dialed up. Keep in mind that Lead 1 Red

6.0

for clean sounds in the Rhythm modes and

to

, as it can support higher BASS control settings than

5.5

10

3.0

or below

This is the principal gain control for the Lead 1 group of circuits. It determines the amount of overdrive present at the
most crucial pre-amp tube stage in these three lead modes. As we mentioned earlier in the Mode section of this
manual (see Lead 1 Red), this controls’ location moves along with many other parts to better accommodate this pre

LEAD 1 DRIVE

- tone control type of architecture. In the Green and Yellow modes, LEAD 1 DRIVE affects the first tube stage of
significance and high settings of the LEAD 1 DRIVE here, will produce rich warm gain that “fills in the holes” and
blends the harmonics subtly. We feel the best sounds are achieved by matching the LEAD 1 DRIVE to the

89

setting of the GAIN control (far left-front panel) or setting the LEAD 1 DRIVE slightly below that of the GAIN...for
example, GAIN at

8.0

, Drive at

or GAIN at

8.0

DRIVE set at

8.0

etc. This scheme lends itself to the most

6.0

focused, well balanced sound.

In the Red mode, the LEAD 1 DRIVE makes its’ move down the line to a later stage, where it can be more effective. At this point it is
wise to mention once again that the GAIN control is a crucial part in the operation of Lead 1 Red. As we said earlier (see Modes
section, Lead 1 Red) this location is usually a discreet resistor in pre-tone circuits, while in TriAxis, it is an adjustable pot. It is
therefore important for you to set this GAIN control to the proper “fixed” resistance...at least to check it out before deciding to deviate
from the recommended setting. Set the GAIN control at

, if you find this lacking (gain wise), increase the LEAD 1 DRIVE before

6.0

increasing the Gain. This will ensure tight bottom end response while producing a less buzzy quality in higher frequencies.

Once again, the Lead 2 group of modes are post tone control. Therefore, the fine tuning of overdrive must occur
later in the circuit where it can focus on finer increments of gain. This Drive control meters the Gain in the third stage

LEAD 2 DRIVE

of the Lead 2 group of circuits. Its’ taper was chosen to deliver very fine increments of gain in the lower regions,
through
upper range

...small increments in the middle range of

3.5

8.0

through

. As with many of the controls aboard TriAxis, moderation often produces the best

10

4.0

through

and fairly substantial increments in the

7.5

0.0

results. Try using this control subtly in conjunction with the GAIN control. It is usually unnecessary to set the Lead 2
DRIVE above

, even for the most crazy rock sounds. If you are finding moderation to tame when using this

8.0

control...perhaps it is time to take a look at other parts of your system, ie. your guitars’ pick-ups, speakers, power
amps etc. In other words...there should be more than enough gain here to accommodate even the most extreme
styles.

PAGE 9

THE CONTROLS

0.0

6.0

(continued)

Once again the two controls, GAIN and LEAD 2 DRIVE, work in tandem with each other and their mix is crucial to
finding a specific sound. In general, the higher the Gain...the darker, fatter and more saturated the sound will be.
The higher the LEAD 2 DRIVE...the brighter, more harmonic and aggressive the character becomes. We like to see

LEAD 2 DRIVE

a GAIN control setting of
sounds. Then simply adjust the LEAD 2 DRIVE to taste. Many of the coolest sounds find the LEAD 2 DRIVE either

7.0

or

for bluesy or medium gain solo sounds and

7.5

for the more high wire rock

8.0

equal to, or substantially lower than these afformentioned Gain settings. Specifically check the lower range of the
LEAD 2 DRIVE where the threshold of distortion is incredibly smooth and single notes purr. Consult the factory
presets for comparison purposes and as always...experiment.

The programmable MASTER control serves three purposes in the layout of the TriAxis. FIRST: It serves as a
level balancing control for each of the eight modes. This enables a wide range of front end GAIN control settings
to be matched to a given listening level and the relative level compared to the other modes. SECOND: It acts as

MASTER

an effects send control for each mode in the Effects Loop. As with many of the controls in TriAxis, the best
results for balance and tone are usually found in the middle range of this control. THIRD: The MASTER is the
Recording jacks’ send level control. When using the direct Recording jacks found on the Rear Panel to interface
directly to a mixing board or a recorder, this control will determine the amount of signal you will be sending via these
jacks. In this application it is usually best to start with the MASTER control set to

and gradually increase it to the

desired level. This minimizes the possibility of blowing speakers or eardrums in the event the engineer has an

extremely sensitive input headroom setting in place at the console. Once again avoid setting the programmable MASTER above

in the Clean Rhythm modes (Green/Yellow) as high settings here can possibly overload the input stage of the DYNAMIC

VOICE control, producing unwanted clipping.

This control usually regulates either brightness or negative feedback in the power section of an amplifier. In the
TriAxis a whole new approach to this traditional circuit was taken. An actual dynamic feedback loop that com­presses the highs and upper treble frequencies makes this PRESENCE control the first of its’ kind. In applying for
the patent for this unique (high compression) circuit, we discovered that this same basic concept can apply to many

PRESENCE

parts of the tube amp in guitar amplification and your TriAxis is the first benefactor of such a breakthrough. With
greater understanding and patent grants behind us, lets talk sound.

As the PRESENCE control is increased, more highs are allowed to pass. The lower the signal strength at the input

of this control, the more highs pass through it. The lower region of the PRESENCE control dampens these high
harmonics. The greater the signal strength at the circuit input becomes, the darker the sound becomes. So...if you set the PRES­ENCE control high and pick softly (sending a small signal through the PRESENCE control circuit) the highs will be very promi­nent in the mix. If you decrease the PRESENCE control and pick harder (increasing the signal strength at the PRESENCE
control circuit input) the high harmonics will be very subtle. In other words, the PRESENCE control helps enhance whichever
direction your’re trying to go in with your sound and it does so dynamically! Most players love the way tube circuits react to subtle
nuances in style...This PRESENCE control circuit takes that idea a few steps further. When you’re “going off” on the treble strings in
a solo and you go for an expressive bend and lay hard into the note...TriAxis works with you! If you picked the note hard with the
PRESENCE control set low, that note would become bigger, rounder and more compressed.

Likewise, if you were doing some low growling work on the bass strings and the PRESENCE control was set high...you could relax
into this segment and let the PRESENCE control make the edge. Most everyone that we know always wishes their high notes could
be fatter and their low notes to be more discernable and articulate...highs where you need them, lack of highs where you don’t. Make
sense...? If not on paper, then you need to plug in and experience the way this dynamic PRESENCE control can enhance your
playing, especially when you are soloing.

PAGE 9

THE CONTROLS

1.0

4.0

10

0.0

0.0

1.0

2.0

3.0

7.0

6.5

7.0

(continued)

This innovative circuit enabled the TriAxis’ one space package to include all the power and sonic character of the
5 band graphic equalizer found aboard most Boogie combos and heads. Obviously there was no room to house
the five sliders necessary to make this E.Q. circuit a graphic type...yet we were determined to find a way of fitting

DYNAMIC VOICE

this valuable sound shaping tool into TriAxis. A creative approach led to a way of using an increment and
decrement key to control all five bands at once! Better yet, the TriAxis’ method actually blends the equalized
signal with the “dry” signal. So, unlike our traditional Graphic equalizer - where the whole signal passes through
the circuit once it is activated...the DYNAMIC VOICE circuit is an EQ and built in mixer all in one! As the DY­NAMIC VOICE is increased, the “dry/wet” mix is increased proportionally. This set up lends some extremely cool
and subtle sounds that can be obtained at the lower range of the control

through

. As the control is
dialed through its middle and upper ranges, the mix becomes more predominantly e.q.’d and at a DYNAMIC VOICE setting of
the whole signal is passed through this circuit.

Simultaneous to this mixing action, the EQ “curve” changes proportionally. The DYNAMIC VOICE uses a preset curve that was
chosen from countless hours of R&D and referencing hundreds of Boogie owners’ favorite “curve”. However, this curve changes
depending on the setting of the control. At

the mix is at 0% and the curve is flat. At 10 the mix is at 100% and the low end is
boosted, the midrange is cut and the highs are accentuated to promote that harmonic blend that’s so crucial to high gain rock or metal
sounds. Between the settings of

and 10, there is a whole range of curves/mixes that can enhance both clean and overdriven
sounds equally. We have found the best settings fall into a couple of setting areas: Clean sounds (though they are usually at their best
without the DYNAMIC VOICE) work well with a setting of
through

with the craziest sounds occuring at

through

or

. Lead sounds seem to support higher settings of

. At settings this high, it will probably be necessary to reduce the

programmable MASTER control in order to balance the volume level with other presets that do not use the DYNAMIC VOICE.

The DYNAMIC VOICE was designed to complement the Lead 2 modes in particular. This circuit is very effective in shaping the post
tone control Lead circuits that make up Lead 2. As mentioned, these modes don’t benefit from high settings of the BASS control,
because large quantities of Bass dialed up early in the pre-amp, produce flubby indistinct attack characteristics. The pre-set curve in
the DYNAMIC VOICE was custom tailored to add just the right frequencies of Bass, blended with specific highs to yield a huge low
end, while retaining a tight focused attack. The Boosting with DYNAMIC VOICE occurs for these 3 modes late in the circuit, where it
is most effective and least detrimental to the tight attack. However, don’t let this dedication prevent you from experimenting with the
DYNAMIC VOICE, as you will find it an enhancement in virtually all of TriAxis’ 8 modes. We just wanted you to understand our
thinking on this - in order to know best where to use the DYNAMIC VOICE and how much to use it, to obtain the best overall results
from this intuitive equalizer circuit.

SETTING

0.0

80 240 750 2200

SETTING

4.5

MIX

0%

MIX
40%

6600

SETTING

2.0

80 240 750 2200

SETTING

7.0

MIX
20%

MIX
70%

6600

80 240 750 2200

6600

PAGE 10

80 240 750 2200

6600