Mesa/Boogie Mark 5 Owner'S Manual Download Page 56

DIAGNOSING PRE-AMP TUBE PROBLEMS:

   Because your amplifier is an all tube design, it is quite possible that you will at some 

point experience minor pre-amp tube noise.  Rest assured - this is no cause for alarm and you can take care of the problem yourself 
in a matter of minutes by simply swapping tubes.

Let us begin by saying;  It is a “very good” idea to keep at least a couple of spare pre-amp tubes on hand at all times to insure unin-
terrupted performance.  These minor pre-amp tube problems can take many forms but can generally be described in two categories: 
Noise and Microphonics. Noise can be in the form of crackling, sputtering, white noise/hiss and/or hum.  Microphonic problems usually 
appear in the form of a ringing or high pitched squealing that gets worse as the gain or volume is increased thus are more noticeable 
in the higher gain “HI” modes. Microphonic problems are easily identified because the problem is still present even with the instru-
ments’ volume off or unplugged altogether - unlike pick-up feedback which ceases as the instrument is turned down. Microphonic 
noise is caused by mechanical vibration and shock: think of banging a microphone around and you’ll understand where the word 
came from.

The best way to approach a pre-amp tube problem is to see if it occurs only in one specific mode or channel. This should lead you to 
the tube needing replacement. Then all that remains is to swap the suspect tube for a known good performer. If you cannot narrow 
down the trouble to a specific mode or channel, the problem may be the small tube that drives the power tubes which is operational 
in all modes and channels. Though rare, a problem with the driver tube would show up in all aspects of performance - so if you can’t 
narrow the problem down to being mode or channel specific, you may want to try replacing the driver tube. Driver problems generally 
show themselves in the form of crackling or hum in all modes of performance and/or weak overall output from the amplifier. Occasion-
ally an anemic driver tube will cause the amplifier to sound flat and lifeless, but this is somewhat uncommon, as worn power tubes 
are a more likely suspect for this type of problem.

Sometimes making the diagnosis is more trouble than it’s worth and it’s faster and easier to merely replace the small pre-amp tubes 
ONE AT A TIME with a replacement known to be good.  But MAKE SURE you keep returning the tubes to their original socket until you 
hit the one that cures the problem. You’ll notice that tubes located nearer to the INPUT jack always sound noisier...but this is because 
they are at the start of the chain and their noise gets amplified over and over by the tubes that follow.  The tube that goes into this 
“input socket” (usually labeled V1) needs to be the least noisy of the bunch. The tube that goes at the end of the preamp chain - just 
ahead of the power tubes - can be quite noisy without causing any problem at all. The tubes in your amp have already been located 
in the most appropriate sockets and this is why you should NEVER pull them all out at once and ALWAYS swap them one at a time. 
ALWAYS return a perfectly good tube to its original socket. Also it’s a good idea to put the amp on STANDBY when swapping tubes 
to reduce the heat build up in the tubes themselves and to prevent explosive noises (which can still occur even if you are pulling the 
tubes away from their sockets gently) from coming through the speaker.  

Remember, take your time, be patient and chances are real good that you can fix your amp yourself by finding and replacing the bad 
tube. It kills us to see someone who has shipped their amp back to us...and all it needed was a simple tube replacement! If you must 
send back your amp, remove the chassis from the cabinet by unscrewing the four mounting bolts on the bottom top. The chassis then 
slides back like a drawer and comes out from the back. Remove the big power tubes and mark them according to their location from 
left to right 1, 2 etc. They need to be wrapped separately with plenty of wadded up newspaper around them and put in a smaller box 
within the larger carton. Remove the Rectifier tubes and wrap them also. You can leave the preamp tubes in or remove them and wrap 
them separately being sure to label their location. (See Tube Task Chart.) 

To wrap the chassis, use plenty of tightly wadded up newspaper so there is at least six inches of “crush space” between the chassis 
and the cardboard box. Bubble wrap also works well, but please DON’T use styrene peanuts - they will shift during transit and get 
lodged inside your electronics as well as allowing your amp to end up at the bottom of the box unprotected and possibly damaged. 

Pre-amp tubes don’t normally wear out as a rule. Therefore, it is not a good idea to change them just for the sake of changing them. 
If there isn’t a problem - don’t fix it. If there is no result from your substitutions, it may be possible that you have more than one 
problematic tube. Though rare, this does happen and though it makes the troubleshooting process a little more intimidating, it is still 
possible to cure the problem yourself.

NOTE:

  

It is normal to hear a slight metallic ringing sound when tapping on the preamp tubes. As long as the tube does not break into 

oscillation or start crackling or any other form of bizarre noise, it is considered normal and functional.

PAGE 52

Summary of Contents for Mark 5

Page 1: ...Owner s Manual...

Page 2: ...h of them as we ourselves would wish to be treated guarantees you an experience that will make you feel truly justified in your choice We re confident your new amplifier will have you smiling and insp...

Page 3: ...A_____ 31 POWER SELECT 10W CLASS A____________ 31 32 FRONT PANEL THE CONTROLS GAIN______________________________________ 33 MASTER___________________________________ 34 PRESENCE______________________...

Page 4: ...openings with items such as newspapers tablecloths curtains etc Do not impede ventilation by placing objects on top of the apparatus which extend past the rear edge of its cabinet No naked flame sour...

Page 5: ...a particular sound style Sometimes these extreme mode differences require different Gain and Tone control treatments to achieve a recognizable and iconic sound In other words it may require some dial...

Page 6: ...at cuts through any mix Beware the volume jumps up when EXTREME is selected There is also a NORMAL BRIGHT switch included that affects all three Modes in CHANNEL 3 EQUALIZER The on board 5 Band Graphi...

Page 7: ...tput section combines two pairs of power tubes with different bias settings and operating parameters to arrive at a blend that showcases the best attributes of both Talking about amplifier operating c...

Page 8: ...e channels is not so critical The OUTPUT control enables you to raise and lower the entire playing level of the MARK V without affecting the balance you have set between the Channels with the Channel...

Page 9: ...SOLO controls from the signal path and the individual Channel MASTER controls become the overall volume level controls Individual REVERB controls for each Channel allow you to set the desired mix of...

Page 10: ...end leaving the FAN on whenever possible to increase the toneful life of your power tubes Basically if the sound doesn t bother you leave the Cooling Fan on all the time Finally a BIAS SELECT switch i...

Page 11: ...Panel To 9 00 or lower to avoid damage to your ears or speakers and increase slowly to the desired level once STANDBY is lifted Follow the Sample Settings examples below and set the Controls at these...

Page 12: ...overall personality of the sound in all the Modes Many of the great sounds in all the Channels will find these two Controls in their middle ranges Avoid setting the TREBLE high above 2 00 when the GA...

Page 13: ...ight center below CH 2 and CH 3 REVERB Controls only allow switchable rectifier choices 14 in Channels 2 and 3 in the 45 Watt setting Front Panel Multi Watt Power Select switch located in lower left c...

Page 14: ...and tangible when the amp or cab sits on the floor Wood floors like stages are really great Let s face it the guitar can be one of those weird instruments that rarely feels the same way two days in a...

Page 15: ...girth A balanced dynamic content makes TWEED work equally well for both broken up chording and urgent single note soloing CHANNEL 1 NORMAL BOLD This switch works globally in Channel 1 and offers two...

Page 16: ...ot just carry but propel a melody This wall of gain can be shaped not only to enhance single note sounds it can be stripped back to create purring lower gain chording and Blues sounds as well The high...

Page 17: ...e Use this mode when you want crushing impact and stop on a dime dynamics EXTREME is most suited for heavy styles where maximum gain and lightning fast attack are the order of the day NOTE Increased s...

Page 18: ...are famous for were created with the EQ being an integral part of that sound but when it came to the straight sound no EQ the non graph model always got to me with it s speed and authority So it was t...

Page 19: ...nt feeling with the fastest attack and maximum focus use the MK IIC Mode If you want the fattest warm est biggest sound and don t need the super fast response use the MK IV and EXTREME Modes Oh and by...

Page 20: ...K IV Channel 3 Tone Controls set to match relative clock face settings on Mark IV Channel 3 BRIGHT NORMAL switch set to BRIGHT switch down Channel 3 PRESENCE set to relative setting on MARK IV Rear Pa...

Page 21: ...1VOICE SWITCH CHANNEL GLOBAL NORMAL BOLD This switch works globally in Channel 1 and offers two choices in voicing the mids and upper mids lower treble region NORMAL provides a balanced smooth respon...

Page 22: ...e 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 pay...

Page 23: ...ect 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 cr...

Page 24: ...ession of CRUNCH and tops out with the thick liquid wall of gain available in the MARK I Mode We suggest that you really spend some time with the GAIN control in each of these modes as they all contai...

Page 25: ...igh 1 00 3 00 and adjust the PRESENCE to taste to bring in the top end you want CRUNCH Mode Select Switch Center This mode is brand new and represents the crossover mode of the crossover Channel It is...

Page 26: ...shines for both rhythm and single note soloing but these different applications require a different approach to settings However two things tend to remain a constant in regards to the Tone Controls no...

Page 27: ...he 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 brightnes...

Page 28: ...GAIN 1 30 2 30 TREBLE 12 00 1 00 BASS 10 00 12 00 PRESENCE 9 00 11 30 it has a lead voice that is unrivaled in articulation nuance and time domain accuracy in the high gain genre These qualities are...

Page 29: ...e even commented on how well the old guitar volume knob or old school channel switching approach works with this sound Set low enough the C Mode works great just backing off for clean and cranking up...

Page 30: ...l more carefully as the lower frequency bottom end can get bloated much faster If you are looking for huge bottom end with high gain set tings it is wise to turn to the Graphic EQ SLIDERS or PRESET to...

Page 31: ...me even years to appreci ate and assimilate It has the somewhat hidden potential to become one of your best teachers as well Sounds weird even hokey Maybe but we could never count the times customers...

Page 32: ...r additional low end using the Graphic EQ as bottom end introduced late in the signal chain will stay tighter longer that its early preamp counterpart As mentioned above some urgent packing an attitud...

Page 33: ...al EQ ON toggle up engages the EQ and applies either the SLIDERS or the PRESET depending on the selection of the SLIDER PRESET switch on the left side of the EQ Section SLIDERS toggle up PRESET toggle...

Page 34: ...t section alone two granted and one pending reveal the incredible technology that your MARK V puts to use in creating the ultimate Tone a magical blend of preamp and power output No other amplifier em...

Page 35: ...tave and making it a little recessive at the same time 10WATT CLASS A SINGLE ENDED This position features not only a low power version of CLASS A power but it takes the vintage mojo even further and s...

Page 36: ...ED in 10 Watt is a whole amp in itself NOTE The 10 Watt Mode is not really intended as a viable part of the Footswitching matrix of the MARK V due to its limited volume capabilities While it is plenty...

Page 37: ...h you will have to watch for clipping as you are nearing the crossover point gain wise Some of Channel 2 s best sounds are to be found here as things start smearing nicely as they start getting into d...

Page 38: ...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 V this way it won t hurt the amplifier However you will...

Page 39: ...The TREBLE is responsible for shaping the character of the entire amp It can overpower the rest of the Tone controls easily and therefore its setting is crucial to a rich and balanced sound in all th...

Page 40: ...ly like to see the MID set for adding the cut and definition Here the top end begins to creep into the mix of the MID controls spectrum and chording sounds start to chime and slash with a more forward...

Page 41: ...t in the way during faster playing You can really utilize higher settings of this higher frequency on the BASS control in the EDGE Mode of Channel 2 and the EXTREME Mode of Channel 3 where there is a...

Page 42: ...solely on the Front Of House engineer to catch your spotlight section and bring you up a bit in the mix the SOLO feature puts that call back in your control The SOLO control is activated by the SOLO b...

Page 43: ...the Channels VARIAC POWER limits the incoming ACVoltage to roughly 95 volts again depending on line conditions for a browner power vibe This position scoops the midrange and provides a looser more el...

Page 44: ...and effects settings are stored under a midi program number The logic used to trig ger these ports is simple tip to ground latching type and most Master switching systems incorporate several jacks de...

Page 45: ...y and this additional circuit reverses the phase of the entire amp This is no cause for alarm and if we hadn t told you of this you probably would never have known Sonically there is no difference oth...

Page 46: ...ir of power tubes in Channel 3 only This is a feature that was popular on the MARK 4 and changes the personality of the attack and liquidity of the sound in the higher gain condi tion found in Channel...

Page 47: ...The EFX LOOP switch must be set to LOOP ACTIVE for the MUTE function of the Foot Controller to work properly SLAVE This 1 4 jack and control provide a signal derived from the speaker jack Perfect for...

Page 48: ...TWEED EQ ON O EQ FS 10 W 45 EQ ON O EQ FS MARK I NORMAL CH 1 NORMAL MARK I THICK BOLD 10 W 45 MK II C MK IV EXTREME EQ ON O EQ FS 90 W 90 W 90 W 10 W SLIDERS PRESET SLIDERS PRESET SLIDERS PRESET DEPT...

Page 49: ...AN TWEED EQ ON O EQ FS 10 W 45 EQ ON O EQ FS MARK I NORMAL CH 1 NORMAL MARK I THICK BOLD 10 W 45 MK II C MK IV EXTREME EQ ON O EQ FS 90 W 90 W 90 W 10 W SLIDERS PRESET SLIDERS PRESET SLIDERS PRESET DE...

Page 50: ...W 45 EQ ON O EQ FS MARK I NORMAL CH 1 NORMAL MARK I THICK BOLD 10 W 45 MK II C MK IV EXTREME EQ ON O EQ FS 90 W 90 W 90 W 10 W SLIDERS PRESET SLIDERS PRESET SLIDERS PRESET DEPTH PRESET DEPTH SOLO PULL...

Page 51: ...10 W 45 EQ ON O EQ FS MARK I NORMAL CH 1 NORMAL MARK I THICK BOLD 10 W 45 MK II C MK IV EXTREME EQ ON O EQ FS 90 W 90 W 90 W 10 W SLIDERS PRESET SLIDERS PRESET SLIDERS PRESET DEPTH PRESET DEPTH SOLO...

Page 52: ...important The bias is RIGHT because it can t change Now you want the long answer Here s more information on how our hard wired bias avoids trouble Please read on But first let s make an important dis...

Page 53: ...ote If the fluctuations in current flow are large and still at 440 per second you ll hear an A that is LOUD But for purposes of biasing it s the amount of plate current flowing with no signal applied...

Page 54: ...other Great care goes into getting this just right and we think we d be asking for trouble to have it adjustable for the world to play with unless you like paying to have your amp messed up Sorry I me...

Page 55: ...over heat before the others and thus it can be identified It should be replaced with one from the same color batch shown on its label Call us and we will send one out to you The severe short is not n...

Page 56: ...se they are at the start of the chain and their noise gets amplified over and over by the tubes that follow The tube that goes into this input socket usually labeled V1 needs to be the least noisy of...

Page 57: ...esistance for example 8 ohm output into 16 ohm cabinet a slightly different feel and response will be eminent A slight mismatch can provide a darker smoother tone with a little less output and attack...

Page 58: ...ets of Series wired speakers connected in Parallel This is how you maintain a consistent load with multiple speakers The importance of this is more evident when you have more than one cabinet to conne...

Page 59: ...mplifier to Speaker Cabinets 4 OHM 8 OHM 16 OHM Partial back view of amplifier 16 Ohm Cabinet 4 OHM 8 OHM 16 OHM Partial back view of amplifier 16 Ohm Cabinet SAFE MISMATCH 8 OHM 4 OHM 4 OHM Partial b...

Page 60: ...of amplifier SAFE MISMATCH 8 OHM Partial back view of amplifier SERIES BOX 8 Ohm 4 Ohm 4 Ohm 4 Ohm Cabinet 4 Ohm Cabinet 4 OHM 4 OHM 8 OHM Partial back view of amplifier PARALLEL BOX 8 Ohm 16 Ohm 16...

Page 61: ...Cabinet 10 SAFE MISMATCH 12 4 OHM 4 OHM Partial back view of amplifier 16 Ohm Cabinet 16 Ohm Cabinet 11 8 OHM 8 Ohm Cabinet 16 Ohm Cabinet 16 Ohm Cabinet 4 OHM 4 OHM 8 OHM Partial back view of amp PA...

Page 62: ...Cabinet SERIES BOX 16 Ohm 8 Ohm 8 Ohm 16 Ohm Cabinet 13 SAFE MISMATCH WIRING SCHEMES Amplifier to Speaker Cabinets 4 OHM 4 OHM 8 OHM Partial back view of amplifier 16 Ohm Cabinet 16 Ohm Cabinet PARAL...

Page 63: ...ing the cathode there is much jostling and elbowing as each one tries to maintain his distance from all the others unless there is a strong and universal attraction from an outside influence Visualize...

Page 64: ...g It can create a repelling field but mostly it s empty space in between widely separated windings of wire It s very easy to control the electrons as they pass through the grid s force field Changing...

Page 65: ...nd haven t lost track of the count you ll know we re still one element short of the five needed to make a Pentode This last part is a pair of beam confining shields which being negatively charged serv...

Page 66: ...age CH2 V2B n a V3A 3rd Gain Stage CH1 CH3 4th Gain Stage CH2 V3B 4th Gain Stage CH1 V4A Reverb Send V4B 2nd Drive stage CH3 V5A 1st Drive stage CH3 V5B Reverb return V6A 4th Gain stage CH3 V6B Effect...

Page 67: ...t 607231 3x POTS pt 594375 CHANNEL SELECT CH 1 CH 2 CH 3 FT SW CH 1 CH 2 CH 3 CHAN 3 EQ RETURN SEND LEVEL LOOP ACTIVE LOOP HARD BYPASS FX OUTPUT SOLO MUTE TUBE REVERB PENTODE CH 3 TRIODE REVERB DIODES...

Page 68: ...NOTES...

Page 69: ...The Spirit of Art in Technology OOGIE B MESA Thank you for trusting MESA Boogie to be your amplifier company and we wish you many years of toneful enjoyment from this handbuilt all tube instrument...

Page 70: ...03 03 10 The Spirit of Art in Technology 1317 Ross Street Petaluma CA 94954 USA 707 778 6565 FAX NO 707 765 1503...

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