Mesa/Boogie Mark 5 Owner'S Manual Download Page 22

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CLEAN

(Mode Select Switch Up):

CLEAN

is derived from the classic MARK series circuits and puts emphasis on tight, focused clean rhythm and articulate single note

playing. This mode has the greatest clean headroom of any mode in the amplifier, and though it can be pushed to clip
at extreme settings (4:00 – 5:30), it will remain tighter and somewhat stiffer than it’s FAT counterpart when used for this
application. The good side of this stiffness is that the BASS control can occasionally be set higher than when going
for clipped sounds in FAT - because the overall personality of CLEAN is stripped of the sub-low frequencies that can
be a challenge when looking for aggressive threshold rhythm sounds.

CLEAN works very well for agro and brash clipped chording sounds, especially when the Power Select switch is set to 45 watts and
the PRESENCE is run a bit high (1:00 - 2:30). Check out this vibe for Punk or super fast Rock rhythm styles where you need ag-
gressive almost-clean sounds that will start and stop instantaneously.

CLEAN shines for chording and arpeggiated work with its crystalline top end sparkle and high harmonic openness. The low end is
tucked up higher so that it adds breath and warmth, but doesn’t go too low so it won’t get too big or sluggish and get in the way when
a groove calls for precise rhythmic note durations. CLEAN is amazing for skanky Funk rhythm or burning Country picking.

The midrange frequencies are also a bit higher in frequency in comparison to the FAT mode, enabling CLEAN to deliver a percussive
attack that stays tight and has maximum impact in a range that cuts and protects its territory in a complex mix. Playing with these
higher mids can be a powerful way to shape the CLEAN mode as the role they play either brings the sound forward – even in the
time domain making it seem faster - or lends a recessive, more relaxed quality to the sound - making it seem slower. Experiment
with the BASS and MID controls as you will learn to tune the attack, width and girth of the sound in CLEAN to match the style and
tempos you play most.

FAT

(Mode Select Switch Center):

FAT

comes from the MARK I Input 2 (which is where our popular

MARK V

got it’s CLEAN voice as well) and is in every way opposite

to the tight, bright voice of CLEAN.

This circuit pays homage to the early Black Face era circuits pioneered by Leo Fender and has become tightly inter-
woven into the fabric of classic Rock and Blues sounds.

Sweet shimmering highs that soar high enough for angels to hear, yet ring with bell-like authority for the rest of the

band. Proud mids that are punchy and tight, yet are low enough to carry weight and add girth. Big, airy lows that start at the center
of the earth and bring the big fundamental to get the party started in a hurry. These qualities produce an easy to play feel on the
strings that invite you in…coaxing you to play your best and of course always…with soul.

FAT works great for chording and rhythmic work, but in contrast to the CLEAN mode, FAT sings with a huge, lush voice that fills-in a
mix and casts a halo of harmonic richness around the entire instrument. The sonic footprint is much wider and can carry a part such
that it becomes the backbone of a song without any processing.

The gain structure of FAT is tapered such that it’s more suited to threshold and clipped sounds, with more gain coming up sooner on
the GAIN Control.  As FAT is pushed toward clip, the bigger cathode values in the preamp deliver a smooth, rich break up that is usually
preferable for both smeared chording and bluesy single note solo work.  The extra gain fills in all the jagged edges in chords and lends
girth to the single notes such that it becomes most players go to mode for all in-between sounds.  FAT is really useful in the studio for
both clean and slightly driven parts, where you want to have a big sound and retain all your dynamic nuances.  This is especially true
in the 45 and 90 watt settings of the Power Select switch, where the power section can deliver dynamic differences effortlessly.

One important thing to keep in mind is that the lower centering of bass frequencies makes it possible to overload both the preamp

frOnt panel: M

ODeS

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Continued

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CLEAN

TWEED

EQ ON

EQ FS

10 W

CH 1