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Mesa/Boogie Mark 5 Owner'S Manual Download Page 67

ALL FR

ONT P

ANEL KNOBS

PT# 408601

GAIN

MASTER

PRESENCE

GAIN

MASTER

PRESENCE

GAIN

MASTER

PRESENCE

TREBLE

MID

BASS

TREBLE

MID

BASS

TREBLE

MID

BASS

OUTPUT

CLEAN

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

DEPTH

PRESET

DEPTH

SOLO

PULL

MUTE

PRESET

80Hz

240

750

2200

6600

45

3

2

1

3

2

1

CH

CH

CH

1

2

3

FA

T

CR

UN

CH

CH 3

NORMAL

BRIGHT

EDGE

MARK I

ST
ANDBY

ON

FULL

PO
WER

V

ARIA

C

PO
WER

MUTE

EQ

FX

0

INPUT

598792

598739

593734

598148

598148

598149

598380

598380

598380

598794

598794

598794

596739

598150

593734

598152

598148

598148

598148

590792

JA

CK

pt# 610120

SWITCH

pt# 607111

3x SWITCH

pt# 607233

SWITCH

pt# 607111

SWITCH

pt# 607111

5x SLIDERS

pt# 588536

SWITCH

pt# 600639

SWITCH

pt# 600631

LIGHT

pt# 395439

FR

ONT P

ANEL:

  

MARK V

3x KNOBS

pt# 408602

LED

pt# 394291

LED

pt# 394201

LED

pt# 394251

5x SLIDER KNOBS

pt# 408550

LED

pt# 394232

LED

pt# 394251

LED

pt# 394201

3x SWITCH

pt# 607233

3x SWITCH

pt# 607233

3x SWITCH

pt# 607231

3x PO

TS

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 A

CTIVE

LOOP

HARD BYP

ASS

FX, OUTPUT

SOLO

, MUTE

TUBE

REVERB

PENT

ODE

CH 3

TRIODE

REVERB

DIODES

CH 2

TUBE

REVERB

8 OHM

8 OHM

4 OHM

4 OHM

(2X8

Ω

 CABS)

(COMBO)

OUT

TUNER

SLA

VE

SLA

VE LEVEL

FOO

T

SWITCH

FA

N

ON

FA

N

OFF

6L6

EL34

CA
UTION

SWITCH 

MUST 

MA
TCH 

TUBES 

IN USE

PA

TENTED

4,211,893

4,532,476

4,593,251

5,091,700

5,168,438

6,621,907

6,724,897

7,173,488

7,193,458

BIAS

DIODES

CH 1

CHAN 2

SOLO

SEND

ON ALL

EXT

SWITCHING

FT SW

LOOP

ASSIGN

ALL

TUBE

AMPLIFIER

HAND

B

UIL
T IN

PET

ALUMA, CA

W

ARNING:

 T

o reduce r

isk of fire or electr

ic    

shoc

k, replace fuse with same type and

rating only

. Do not e

xpose this unit to

                      r

ain, moisture or thie

ves

.

CA
UTION:

  T

o reduce r

isk of fire or electr

ic

shoc

k, do not remo

ve co
ver

. No user-

ser
viceab

le par

ts inside

. Ref
er all

ser
vicing to qualified personnel.

®

45W ONL

Y

Sim
ul-
Cl

as

s

 

™

 

Po

wer

MARK  FIVE

TM

E

F

X

S

P

K

R

FUSE

DOM & 100V

 pt# 790403

EXP pt#

790200

HOLDER pt#

790347

KNOB

pt# 408113

KNOB

pt# 408113

3x DOUBLE J

ACK 

pt# 619357

3x DOUBLE J

ACK 

pt# 619357

4x SWITCH

pt# 607200

4x KNOB

pt# 408601

JA

CK

pt# 613608

2x SWITCHES

pt# 607200

LED

pt# 395545

KNOB

pt# 408601

LENS

pt# 703300

REAR P

ANEL:

  

MARK V

608310

608320

590036

590151

590738

590125

590378 

PAGE 63

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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