Mesa/Boogie Mark 5, Owner'S Manual, Page: 23 / 70

and speakers quite easily by setting the BASS and MID Controls in their higher regions (above 11:30). Even the power section is
not immune - as the extra lows will use up power quickly (it takes more wattage to amplify low frequencies) and along with premature
clip, you will create a flubby, indistinct sound that is not very pleasing. Follow the simple rule we suggested earlier in the Helpful Hints
section of the manual; As the GAIN control goes up – the BASS (and MID in this case) control should come down. This will help you
avoid overloading your rig with lows and tubbing-out your sound.
NOTE: Lower frequencies produced in the FAT mode can create a bottom heavy, flubby sound that can overwhelm your speakers
and eat up headroom if the BASS control is set too high, especially in combination with high GAIN settings. It is normal - and in fact
suggested - to run lower BASS (and even MID) settings (10:00- 7:30/OFF) in the FAT Mode as the GAIN is increased.
TWEED
(Mode Select Switch Down):
TWEED
takes a step up on the gain scale and provides the perfect blend of a clean channel – with dynamic responsiveness and
top end openness intact - and the warm beginnings of a mid-gain channel that can provide some sustain and drive. It
is by no means a high gain or lead channel, but it is the highest gain Mode in Channel 1. TWEED creates a smooth
transition from the icy attack of CLEAN and the warm bloom of FAT to the higher gain region covered by the 3 Modes
in Channel 2.
This Mode shares some circuitry and sonic characteristics with both the Mark IV’s Rhythm 2 Mode and the TWEED
Mode on our Dual Rectifier Road King and Roadster amplifiers. The name harkens back to the prized vintage voice of the earliest
Leo Fender Tweed era circuits that early Rockers cranked all the way up to obtain a raw and beautiful clip, casting these amps firmly
in the mantle of classic Rock sounds.
In the lower and middle ranges of the GAIN control, an alternate clean sound delivers a mid enhanced focus and punch that works
well for clean parts that need to be in your face. If you want to reduce this effect simply run the MID control low (8:30 – 10:30) and
soften the impact of these extra midrange frequencies. This trick creates a great transition up the forward-clean-sound scale. Another
great sound is created by using either the SLIDERS or the PRESET EQ with TWEED to soften the mids and bump up the lows and
highs…the sound is aggressive and big and can be used for many styles!
TWEED excels at delivering the in-between, almost clipped rhythm sounds that are at the forefront of popular music with an urgency
and brashness that cuts through the mix and commands attention. These styles will probably benefit from setting the GAIN and
TREBLE Controls pretty high (2:00 – 5:00) and then adding cut and urgency with the PRESENCE Control. It also works great for
Blues and Roots style rhythm playing under the same settings scenario but try adding a bit more BASS and MID and rounding it out
with a lower PRESENCE setting.
A very touch sensitive and dynamic solo voice is also on the menu with TWEED - but the GAIN and TREBLE will have to be very
high (4:30 – 5:30) to achieve the gain needed to be vocal and hang notes. The Presence will usually want to be low ((7:30 – 9:30) to
obtain a round, smooth quality, especially since the TREBLE needs to be high to milk all the gain you can get out of it.
The GAIN/ BASS relationship rule still applies and particularly when it comes to single note solo sounds and chording sounds that
need to have an instant start/cutoff characteristic; As the GAIN goes up – the BASS should come down.
And finally, don’t forget to experiment with TWEED in combination with the two lower power settings (45 and10 W) of the MULTI-WATT
Power Assign switch for some amazing pre/power clip concoctions. The added mid focus and punch inherent in the voicing of the
TWEED Mode retains its attack characteristic even while the power is sagging to create some wonderful sounding/feeling break-up.
These sounds work equally well for both chording and single note work and seem to give back in spades all you put in and more.
Old school fun for sure!
Oh yeah, one last thing. Don’t be shy about using the EQ, either SLIDERS or PRESET, when cranking the GAIN for some of the
frOnt panel: M
ODeS
(
Continued
)
CLEAN
TWEED
EQ ON
O
EQ FS
10 W
45
CH 1
NORMAL
BOLD
90 W
CH
1
F
A
T
INPUT
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