Mesa/Boogie JP-2C, Owner'S Manual, Page: 11 / 56

The VOLUME 1 is a bit more sensitive and critical and here in the JP-2C it is preset internally with discreet resistors in both Channels
(as we did in our MARK FIVE™) for its optimum setting as it applies to application. That setting in Channel 2 is aimed at producing the
most urgent, aggressive, thick, high gain Crunch rhythm sound possible. In Channel 3 it is very similar, but tweaked ever so slightly (set
slightly higher) for vocal, singing single note Lead sounds. All aspects of the characteristic of that missing (not externally adjustable)
VOLUME 1 (Gain) control were considered in the choice of its internally fixed setting. It was measured, scrutinized, re-measured–and then
done all over again–literally hundreds of times (as it was on our MARK FIVE project)–to arrive at the ultimate combination of immediacy
in attack, harmonic content and spread, fullness of body in Gain and Tone and nuance of explosive, aggressive, envelope in character.
The end result for the user is an amplifier that is MUCH easier to dial and arrive at the very best of the MARK II-C+’s most signature and
mind-blowing sounds more quickly and with less “neurotic tweaking” required. There is NO compromise of the original’s performance
and yet a SERIOUS benefit gained in the dial-ability with this modification to the original Control layout.
CHANNEL 2
Channel 2 is the JP-2C’s Crunch generator. This Channel is all about aggressive, tight overdriven rhythm sounds
delivered with amounts of Gain usually associated with Lead Modes or Channels. It IS in fact a Lead Channel… the LEAD Channel
from the MARK II-C+ in its original state circuit-wise. As mentioned in the above NOTE, the setting of the Gain has been optimized
for its performance in this category of sounds and though it can definitely be used for Lead sounds of all kinds, it is perhaps the first
best choice when dedicating a Channel in the JP-2C to Crunch rhythm work.
To achieve the most famous, now classic MARK II-C+ grinding rhythm sounds in Channel 2, you will likely want to employ one of
the 5-Band Graphic Equalizers (usually EQ 1) and set the Sliders to the classic V-Curve (discussed later) to scoop the mids and
boost the top and bottom end. This is by far the most widely used application for the Graphic EQ and here in the JP-2C, you have
a separate one for each of the high gain Channels! This means greater flexibility and improved accuracy when crafting your sounds
and it allows you to arrive at a truly no-compromise set of sounds for both rhythm and lead! This was something that was impossible
on the original MARK II-C+, hence the fact that many top Artists of the day used two MARK II-Cs and a Midi switcher (also contained
here) in a rack system to call up dedicated amps with different settings for each sound.
CHANNEL 3
Channel 3 is created with soaring lead sounds in mind. It’s first priority is to meet and even exceed the incred-
ible explosive attack, blistering sustain and harmonic complexity of the very best of the MARK II-C+. We, along with the amplifier’s
namesake, feel we have achieved exactly that. Channel 3 boasts all the nuanced performance of the originals and delivers that
with unbelievable authority due to the straight 100 watt (versus 90 watt Simul-Class™) power section aboard the JP-2C. This power
section difference serves the musical style John plays extremely well and in fact, his absolute favorite amplifier of the many II-C+s
he owns is a 100 watt model. The front end preamp gain setting is optimized for single note sounds and the internally preset resis-
tors that handle the role of the (missing) VOLUME 1 control on a II-C+ are, as mentioned above, of slightly higher value to achieve
a thicker, rounder single note signature. Channel 3’s character is therefor a little warmer, fatter and compressed and this plays well
into its intended application for lead work of all styles and gain requirements.
PULL GAIN & PULL PRESENCE
In addition to the VOLUME 1 and LEAD MASTER control deletions from the original
circuit, we’ve modified the PULL SHIFT Features layout of the original II-C+ to both simplify and enhance both high gain Channels 2
and 3. All PULL SHIFTS that affected and were possible in the original II-C+ LEAD Mode are permanently activated here in with the
exception of the BASS SHIFT found on the original’s BASS control. This includes VOLUME 1 PULL BRIGHT, TREBLE SHIFT, PULL
DEEP (found on the MASTER control) and LEAD BRIGHT (from the deleted here) LEAD MASTER. This combination is historically
the most popular among savvy MARK II-C+ aficionados and was always SHIFTED when customers and Artists were polled, along
with the fact that was always the best sounding combination to our own ears and hands.
In addition to these changes to the original circuit, we have added two new PULL SHIFT options on the JP-2C. A PULL GAIN on the
GAIN control and a PULL PRES (shift) on the PRESENCE control.
PULL GAIN increases the setting of the (deleted and internally fixed) VOLUME 1 control by approximately one number setting’s
worth… in other words, just a little bit. This means that it is added to the already preset amount of gain/drive that is in place when the
pot is NOT pulled out. This increase is also relative to the Channel’s preset gain orientation, in other words, the setting of Channel
3’s PULL GAIN when activated will be approximately one number setting higher than that of Channel 2’s PULL GAIN activated. In
both Channels this PULL GAIN feature allows a little boost of gain for specific parts or musical styles.
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