Mesa/Boogie Mark 5 Owner'S Manual Download Page 38

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MASTER:

This control determines the overall output level of each Channel and is located at the very end of the preamp. By using

it in combination with the GAIN control, any amount of preamp signal strength – gain – (within a Modes’ parameters) can be achieved

at any playing volume. Once you have dedicated the Channels to their respective sounds with the Modes
and Controls, you can then balance the volume levels of the Channels using the MASTER controls.

For you purists… when the EFFECTS LOOP is set to the HARD BYPASS (toggle down) setting on the
Rear Panel, the MASTER control becomes the final volume control (because the OUTPUT level control
is part of the EFFECTS LOOP circuitry). To raise or lower the playing level of the entire amplifier, you

must adjust all three MASTER controls in the three Channels.

The MASTER also functions as an EFFECTS RETURN control for the EFFECTS LOOP when the LOOP is engaged (LOOP ACTIVE,
toggle up). After you have set the Input level signal strength of your effects using the

MARK V’s

EFX SEND LEVEL control, flip the

LOOP to HARD BYPASS and check that you still have unity gain (the sound doesn’t drop or increase in volume) and if not adjust the
MASTER control(s) until the volume stays roughly the same as you toggle the EFFECTS LOOP in and out of the signal path.

For general applications and to get the best performance out of all the Modes we recommend MASTER settings in the 9:00 – 12:00
range with most people settling in around 10:30 for average playing volumes. When the LOOP is BYPASSED you may need higher
settings for larger venues, and this is fine.

Some purists like to run the MASTER all the way up and raise the GAIN until they reach their desired sound – thinking that this
achieves the purest sound. In theory, they believe this resembles removing the control altogether from the signal path, and in a way
it does. However most all the “vintage non-master” amplifiers they are seeking to emulate have discrete resistors in that place in the
circuit anyway to adjust or “tune” the output of the preamp to the power section sensitivity.

The MASTER is nothing more than a variable resistor that offers an infinite range of settings possibilities and makes the amplifier
many times more versatile with no sonic penalty. If you prescribe to this old school approach, then by all means, use the

MARK

this way… it won’t hurt the amplifier. However you will be severely limiting the potential sounds you can achieve by removing the

limitless great sounding combinations of GAIN and MASTER settings.

PRESENCE:

This control adjusts high frequencies - above those of the TREBLE - and is located in the power section, farther

downstream in the signal path, and not in the preamp. The PRESENCE adjusts a specific zone of frequencies in the negative

feedback circuit of the power section that best suit the needs of each individual Mode. The

MARK V

incorporates substantial circuitry to achieve the complex switching of parts needed to voice each Mode
correctly and ensure an adjustable range on the PRESENCE that is sound-style appropriate as well as
musically usable.

You can think of the PRESENCE as a control that allows you to either clamp the power amp down,

compressing it and darkening things - or open it up and let the full spectrum of upper harmonics come blazing through. It also has a
great deal to do with how dynamic the signal is and how a sound will cut through the mix in an ensemble environment.

At low settings (7:30 – 10:30) the sound will be warm and round with a more compressed feel and dynamic fluctuation will be limited.
As the PRESENCE is increased (11:00 – 2:30), the top end starts to become more dominant and that compression gives way to “cut”
and dynamic peaks jump out with startling speed and accuracy.  At the top end of the control (2:30 – 5:30), a super aggressive blend
of upper harmonics dominate the sound and this region can be somewhat dangerous if it’s not applied in small measures.  Higher
notes will slice and dice even the bravest set of ears and we suggest using this region mostly in the studio for recording heavy crunch
rhythm parts and even then – mostly on parts that feature the lower strings.  This region – especially when coupled with the inherent
curve of many of the microphones typically used in P.A. (sound reinforcement) applications can be truly punishing.

frOnt panel: t

OntrOlS

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Continued

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TREBLE

MID

BASS

GAIN

MASTER

PRESENCE

CLEAN