Mesa/Boogie JP-2C, Owner'S Manual, Page: 17 / 56

The Controls operate exactly the same for both Channels and there is only one tip that we might suggest to save you time and help
you arrive at great sounds fast; avoid high Settings of the BASS control. Especially when the GAIN control is above 12:00. In other
words, as the GAIN goes up, the BASS should come down. This simple settings “rule” helps you avoid the only real settings pitfall of
the MARK Series circuit; the BASS control comes pretty early in the signal chain and large amounts of BASS dialed in there create
a flubby indistinct attack and a bloated, unbalanced sound. By avoiding high BASS settings you will ensure a tight, focused attack
characteristic and an immediacy in response. With this Tone trap avoided, you’ll be in for some of the most aggressive and harmoni-
cally layered, musical and rich guitar sounds ever. Again, with an amp that has this much Gain, you have to use taste, make small
moves and apply balance in all areas of your settings in the sonic spectrum and the signal path. Let the gain and the controls work
for you, not against you. If you follow this line of thinking you’ll have no trouble dialing in amazing sounds quickly in these two high
gain Channels.
PULL GAIN
This feature, along with the PULL voicing on the PRESENCE controls, was not on the original II-C+ amplifiers. We
have added both in reponse to John’s questions and wish list of features. The PULL GAIN allows a slight BOOST… what amounts
to a number more, on the (missing here) VOLUME 1 Control as it applied to the original MARK II-C+. Again, that control is preset
internally after MUCH testing and consideration as to John’s requirements and our own feelings about the optimum setting of this
sensitive part in the circuit.
To describe what occurs in the pushed-in and pulled-out Modes in MARK II-C+ terms, it is basically like having two VOLUME 1 settings;
In Channel 2–the slightly lower gain “Crunch Rhythm Channel”–that offers the un-activated, pushed-in setting of about 6.0 (or 1:00)
and the activated PULL setting of 7 ¼ (or 2:15) or so.
In Channel 3–the hotter “Lead Channel”–it shakes out like this; an un-activated, pushed-in setting of approximately 7 ½ (or 2:30) and
the activated, PULL setting of 9.0 (or 4:00).
The settings are referred to here as “approximately” or “about” because no two pots are ever exactly identical resistance-wise, and
there is a fair amount of play in the older MARK II-C+ Pull Pots, so the number settings are general reference points and are ap-
proximate. The actual settings here in the JP-2C are achieved with a network of resistors per Mode (internally preset “missing” pot)
with values that were arrived at through relentless scrutiny and are very precise.
PULL PRESENCE
This feature allows you choice of two different PRESENCE Voicings (both frequency and response) to be
applied to the two high gain Channels. This difference can be very useful for tuning the Channels to either Crunch Rhythm sounds
or a voice and feel that is silkier sounding and more inviting to play for lead work. Before we go any farther with descriptions though,
a quick detour; it is imperative you understand this important operating tip.
NOTE: The Two PRESENCE Modes Set Up Very Differently! Pushing and Pulling Will Probably NOT Give You Two Great Sounds!
You Need To Set The PRESENCE Control Differently For Each Voicing Mode! See Below “Setting”!
PUSHED-IN: The un-activated, pushed-in Mode is a new sound for the II-C+ circuit and features a circuit that accentuates a lower
frequency than our traditional PRESENCE circuit. It hits harder in a zone just above the TREBLE control’s region and allows for a
more aggressive, tighter attack response. This works well for Rhythm, where you need definitive placement in the time domain and
more punch and articulation. The harmonics top out earlier and are a bit more blended in this Mode. This also works well for single
note sounds where you don’t want a lot of harmonic content and instead prefer a tightly focused, more cohesive sound. This Mode is
also the “anti-buzz” or “tightly attached harmonics” Mode. This is opposed to the top end harmonics becoming a bit more detached.
There are times when you don’t want that separation or its three dimensional characteristics and instead want a focused, chest-kicking
voice. It can also have merit for lower to medium gain sounds for both rhythm and single note work. For Classic Rock gut-punch or
Blues solo sounds where you really want to jab and punctuate.
SETTING – PUSHED-IN: You will need to set the PRESENCE higher for this Mode. The frequencies are lower and appear darker
and more cohesive, especially when switching from PULL Mode. Set the Presence to approximately 1:00 and adjust from there to
taste and feel.
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