Mesa/Boogie Mark 5 Owner'S Manual Download Page 27

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CHANNEL 3:

Channel 3 is a tribute to the entire line of MARK series Channel Switching amplifiers and contains three circuits from the pinnacle

of that architecture.  The two most sought after of these, the MARK II-C+ and the MARK IV, provided
both the starting points and ultimate reference for this collection of Modes. These two amplifiers share
a long and prestigious list of credits and together are responsible for some of the most iconic high gain
guitar sounds ever recorded.  Channel 3 contains the Lead Channel of the II-C+ and two Modes from the
MARK IV, LEAD and LEAD EXTREME.  These are all faithful recreations that benefit from our 40 years
of super-tuning high gain tube amps and all the trade tricks and hidden secrets we’ve learned along the

way have been employed in creating these ultimate MARK sounds.

This is the highest gain of the three channels in the

MARK V

and would be thought of by many as the Lead Channel, however there

are as many ways to apply these super-focused sounds as there are people who use them.  The trademark mid-focus to the gain
lends itself equally well to both chording rhythm and single note solo sounds because of its’  articulate, tight-tracking response and
lush harmonic layering.  These circuits also provide amazing resolution across the gain scale with great threshold-of-clip, pushed
clean sounds found at the low end of the GAIN control and searing, explosive lead sounds at the high end… with a whole range of
urgent, tight crunch rhythm sounds in between.   This fine resolution of gain and clear definition makes Channel 3 easily as versatile
as the other Channels and you have hours of fun exploration ahead of you as you learn how best to utilize this powerful Channel for
your needs.

CHANNEL 3 VOICE SWITCH - CHANNEL SPECIFIC:

NORMAL / BRIGHT

This two-position switch determines the amount of upper harmonics present in the sound of all 3 Modes in Channel 3. Some sounds

bring forward the action of this switch more than others, depending on the amount of top end in the sound to begin
with, but it adds or reduces brightness at its location in the signal path in all Modes of this Channel. For example; you
will hear its action more in the MK II C+ Mode than you will in the MK IV (FAT) Mode - because the high frequencies
are more rolled off and recessive in the MK IV Mode and therefore there are less of these frequencies present for the
BRIGHT switch to bring forward.

In the BRIGHT position (switch down) the sound will be infused with an upper harmonic halo around the note(s).  This added top end
becomes more apparent as the GAIN is increased, especially in the MK II C+ and EXTREME Modes where the BRIGHT circuit has
more highs to work with.  The BRIGHT position is great for adding harmonic grind to high gain chording sounds in these two Modes.
It lets these highs pass at a specific earlier stage in the preamp so that the PRESENCE and GRAPHIC EQ, can be used to blend
and shape them down the line.

In the NORMAL position (switch up) this region of upper harmonics is rolled off, creating a darker, warmer blend that works well for
single note soloing. The NORMAL position is great for adding a feeling of girth and fatness in low gain sounds and removes unwanted
sizzle and buzz that can result from low output pickups in high gain settings.

frOnt panel: M

ODeS

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Continued

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GAIN

MASTER

PRESENCE

GAIN

MASTER

PRESENCE

GAIN