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ESA OOGIE
B
M
MARK IV
Owner’s Manual
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
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Hello from the Tone Farm... YOU, the smart player and all around intuitive human, have put your trust in us to be your amplifier company. This is something we do not take lightly. Our reward is that we’ve made a classic amplifier and by choosing this amplifier, you have become part of the MESA family...Welcome! Our goal is to never let you down. Your reward is that you are now the owner of an archetypical guitar amp bred of fine all tube amp heritage...benefiting from the many patented pione
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Table of Contents MARK IV PRECAUTIONS REAR PANEL: OVERVIEW _____________________________ 1 A.C. RECEPTACLE _______________________ 9 FRONT PANEL: FUSE __________________________________ 9 POWER-UP ____________________________ 2 REVERB & REVERB FOOTSWITCH ________ 10 CONTROLS: EQ ROCKER SWITCH ____________________ 10 RHYTHM 1 GAIN ________________________ 3 SATELLITE CONTROL: EQ & SEND JACK __ 10 PULL BRIGHT __________________________ 3 EFFECTS LOOP SECTION ____________ 10 & 11 R 1 TREBLE ______
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Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly. USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS: Do not expose amplifier to moisture, rain or water, direct sunlight or extremely high temperatures. Always insure that amplifier is properly grounded. Always unplug AC power cord before changing fuse or any tubes. When replacing fuse, use only same type and rating. Avoid direct contact with heated tubes. Insure adequate air circula
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3 3 3 5 5 9 9 9 9 9 9 9 9 9 1 1 1 10 10 10 0 2 2 2 4 4 4 6 6 1 0 0 0 10 10 10 10 10 10 10 10 10 3 3 3 2 5 5 5 7 7 1 1 1 0 0 0 0 0 0 0 0 0 3 2 2 2 8 8 4 4 4 6 6 6 1 1 1 1 1 1 1 1 1 3 3 3 5 5 5 9 9 2 2 2 2 2 2 2 2 2 4 7 7 7 3 3 3 3 3 3 3 3 3 6 6 6 5 MARK IV MARK IV Operating Instructions Overview: Congratulations for choosing the MARK IV as your new musical voice. You have purchased a handbuilt instrument of the finest quality and craftsmanship. In 1984 Mesa/Boogie introduced the world’s first “
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7 3 3 3 5 9 9 9 9 9 9 1 9 1 10 10 10 10 8 0 0 0 2 2 4 4 4 9 6 1 1 1 0 0 0 0 10 10 10 10 10 10 10 3 3 2 2 2 5 5 5 7 1 1 1 1 10 0 0 0 0 0 0 0 3 3 3 2 2 2 2 8 4 4 6 6 6 1 1 1 1 1 1 1 0 3 3 3 3 5 5 9 2 2 2 2 2 2 2 4 4 4 7 7 7 1 3 3 3 3 3 3 3 6 6 5 5 5 FRONT PANEL: First familiarize yourself with the layout of the Front Panel and plug in the FU-3 footswitch which is located on the underside of the chassis towards the middle and about mid way forward of the Rear Panel. It’s not necessary to unplug th
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5 1 1 0 0 0 1 1 2 2 2 2 6 1 1 1 3 3 3 3 2 2 2 7 3 3 3 4 4 8 4 4 5 5 9 4 4 4 5 5 6 6 6 6 CONTROLS: RHYTHM 1 GAIN: Setting the RHYTHM 1 mode adjusts the input sensitivity for the clean RHYTHM mode. With most guitars, this mode stays clean until around 8 where it begins to overdrive. Use the R1 MASTER to control loudness if you want slight overdrive at low volumes. This mode was very carefully designed to provide great rhythm sounds, from the best of vintage, Fender-type (clean or solo) to a more m
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5 5 5 5 0 0 1 1 1 3 0 0 2 2 2 6 6 6 6 1 1 1 1 3 3 3 2 2 4 2 2 7 7 7 7 3 3 5 3 3 8 8 4 4 4 5 5 5 6 9 9 4 4 4 4 6 6 6 CONTROLS: (Continued) R1 PRESENCE: This control adjusts frequencies higher than those found on the TREBLE control. There are so many different sounds that RHYTHM 1 can produce, you must experiment using your guitar and your ears. Try settings such as low on the TREBLE control, high on the PRESENCE control...and the opposite...as an experiment, both with and without the BRIGHT switc
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1 1 1 1 1 1 1 1 1 1 1 3 0 0 0 2 2 2 2 2 2 2 2 2 2 2 1 1 1 3 3 3 3 3 3 3 3 3 3 3 4 2 2 2 5 3 3 3 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5 6 4 4 4 7 6 6 6 6 6 6 6 6 5 CONTROLS: (Continued) RHYTHM 2 TREBLE: This control along with RHYTHM 2’s PRESENCE control should be worked with together to produce the desired gain and brightness of the mode. Setting the TREBLE higher, as always, increases the gain of the mode and allows increased distortion and sustain. Lower settings allow the MID and BASS controls to be
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1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 3 3 3 3 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 4 4 4 4 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 CONTROLS: (Continued) LEAD GAIN: (Continued) There are also some great singing, slightly distorted sounds that come from low settings of Gain and Drive with FAT pushed in. “Onset of Clip” and “threshold of distortion” are p
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1 1 1 1 1 1 0 0 0 2 2 2 2 2 2 1 1 1 3 3 3 3 3 3 2 2 2 3 3 3 4 4 4 4 4 4 5 5 5 5 5 5 4 4 4 6 6 6 6 6 6 5 5 5 CONTROLS: (Continued) LEAD BRIGHT: The importance of this switch is a must to understand. At low to medium playing volumes, the LEAD BRIGHT adds desirable sizzle, and gain in the highs to the overdrive sound and contributes to a “big easy feeling” as well. At high volumes the LEAD BRIGHT can cause real problems, such as excess squealing and noise. At high volumes it is often not necessary
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9 6 6 0 7 7 10 1 8 8 2 0 9 9 3 1 2 10 10 4 CONTROLS: (Continued) GRAPHIC EQ: (Continued) EQ back out of the circuit, the straight tone sounds to flat. Don’t worry! It’s just “hearing hangover”. All the MARK IV’s modes were developed without using the EQ so that it could be an accessory - not a necessity. OUTPUT LEVEL: This control adjusts the playing loudness of all three modes equally. Once you’ve got the sounds set up as you would like them, using this one control will allow you to work loude
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6 6 6 7 7 7 8 8 8 9 9 9 10 10 10 REST AREA REAR PANEL MKIV REV FTSW. AUTO FX LOOP ON AUTO TRIODE SIMUL-CLASS HARMONICS CLASS A/ SIMUL FX LOOP EQ FULL TIME RHY 1 RHY 2 RHY 2 0 0 FUSE RHY 1 LEAD FT SW EX SW PENTODE CLASS A MID GAIN FX LOOP RHY 2 LEAD 3A SB SWITCHING AUTO ASSIGN SWITCHES EXTERNAL SWITCHING JACKS LEVEL OUT LEFT RIGHT 117 VOLTS SATELLITE EQ (STEREO) (MONO) 60 HZ MODE SELECT 0 4 AMPS SIG. PATH ON OFFAUTO R2 FX SEND 8 OHM 4 OHM 4 OHM HANDBUILT IN PETALUMA CALIFORNIA RHYTHM 1 RHYTHM 2
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10 10 10 0 0 0 1 1 1 2 2 2 3 3 3 REAR VIEW MKIV (Continued) REVERB & REVERB FOOTSWITCH: REVERB is a simple depth control which activates the rich all-tube, three-spring analog circuitry. Even though many players have more modern digital reverbs and delays, there is still something quite pleasant about this natural-sounding, REV FTSW. traditional Reverb system that we think you’ll enjoy. The REVERB effect may seem more intense in some modes (such as RHYTHM 1) than in other modes, because each mo
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10 6 10 10 0 7 0 0 8 1 2 1 1 9 2 2 3 3 3 10 4 REAR VIEW MKIV (Continued) EFFECTS LOOP SECTION: (Continued) be able to footswitch in the effects mid-way through a LEAD mode solo, for example. Remember that the MASTERS double as effects send controls and the OUTPUT LEVEL also works as an Effects Return control. RECORDING OUT: Following the enormous success of this feature in the Quad and Studio Preamps, where they’ve been used on numerous professional - and countless home recordings, this proven
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10 10 10 10 0 0 0 0 1 1 1 1 2 2 2 2 3 3 3 3 REAR VIEW MKIV (Continued) SIMUL-CLASS / CLASS A SWITCH: This switch selects between two-tube and four-tube operation in the power section. In the CLASS A position, only the two end power tubes are active, producing around 30 watts before clipping when operating TRIODE, or 50 watts when in PENTODE. For the nastiest shredding tone and the greatest amount of power amp distortion, use CLASS A with TWEED POWER and TRIODE. TRIODE SIMUL-CLASS HARMONICS In t
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10 10 0 0 1 1 2 2 3 3 REAR VIEW MKIV (Continued) POWER TUBE SUBSTITUTION: (Continued) ohm speaker should be plugged into the 4 ohm jack. However, please note that Mesa/Boogie cannot accept responsibility for any blown 6V6’s incurred during such usage! Proper operation depends totally on the correct setting of the aforementioned switches and this will be impossible to verify for warranty tube coverage. So please exercise caution when using 6V6’s! Incorrect setting of the switches won’t usually
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10 0 1 2 3 REAR VIEW MKIV (Continued) EXTERNAL SWITCHING JACKS: These jacks allow remote (usually MIDI-programmed) operation of your amplifier’s functions from an external switching source, such as the Mesa/Boogie MIDI Matrix. In each case, the switching is accomplished by connecting (“shorting”) the jack’s tip to its ring. TRIODE SIMUL-CLASS HARMONICS CLASS A/ SIMUL FX LOOP EQ RHY 2 RHY 1 LEAD FT SW EX SW PENTODE MID GAIN CLASS A EXTERNAL SWITCHING JACKS MODE SELECT 8 OHM 4 OHM 4 OHM RHYTHM 1
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0 2 2 2 1 3 6 2 6 6 6 3 5 4 6 1 7 5 3 7 Factory Sample Settings MARK IV Clean / Crunch / Lead (RHY 2 OPTIONAL) PULL PULL PULL PULL SILENT EQ LOOP 10 6 5 5 3 7 3 2 RECORDING (PULL) FULL ON POWER RHY1 GAIN RHY2 GAIN R1 TREBLE R1+R2 BASS R1+R2 MID R2 TREBLE R1 R2 LD INPUT LEAD GAIN LEAD TREBLE LEAD BASS LEAD MID LEAD DRIVE 5 4 5 6 5 3 3 TWEED OUTPUT LEVEL STANDBY POWER 80 240 750 2200 6600 MARK IV PULL PULL Vintage Clean / Clip / Howl (NO EQ) PULL PULL PULL SILENT EQ LOOP 9 4 5 7 0 0 0 RECORDING (
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Personal Settings MARK IV SILENT EQ LOOP RECORDING (PULL) FULL ON POWER RHY1 GAIN RHY2 GAIN R1 TREBLE R1+R2 BASS R1+R2 MID R2 TREBLE R1 R2 LD INPUT LEAD GAIN LEAD TREBLE LEAD BASS LEAD MID LEAD DRIVE TWEED OUTPUT LEVEL STANDBY POWER 80 240 750 2200 6600 MARK IV SILENT EQ LOOP RECORDING (PULL) FULL ON POWER RHY2 GAIN R1 TREBLE R1+R2 BASS R1+R2 MID R2 TREBLE RHY1 GAIN R2 LD R1 INPUT LEAD GAIN LEAD TREBLE LEAD BASS LEAD MID LEAD DRIVE TWEED OUTPUT LEVEL STANDBY POWER 80 240 750 2200 6600 MARK IV S
