Mesa/Boogie pmn owner manual

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BIAS ADJUSTMENT:

(Continued) control grids. Voltage and current are NOT the same. Current is the AMOUNT of electricity, the “quantity” — and is measured in amperes. Voltage is the degree of electric charge — like the “pressure” to use the old water analogy. Let me illustrate how different voltage and current are:

When you scrape your feet across a carpeted fl oor in dry, wintery conditions, your body can become charged with 50,000 to 100,000 volts of static electricity. And when you reach for the door knob, a spark jumps and you feel it! The voltage is super high but the cur- rent (measured in micro-amps) is tiny - otherwise you would die from electrocution.

Contrast this with your car battery, which puts out a mere 12 volts. You can lay your hands right across the terminals and not feel a thing. Yet the amount of current available can run to several hundred amperes .. enough to turn over a cold engine and get it started.

So current and voltage are two totally separate electrical parameters — though when you multiply them together, you get POWER, which is measured in watts.

When you set the bias of an amplifi er, you are adjusting the static VOLTAGE at the control grid of the tube in order to produce a desired amount of idle CURRENT fl owing to the tube’s plate. A small change in grid voltage, produces a large change in the amount of current fl owing — and that’s basically how a tube works. Say that again because it’s super important: A small change in voltage at the grid causes a large change in current fl owing to the plate. See, that’s the essence of amplifi cation: A small change causing a large change. And here it’s a small voltage change causing a large current change.

The bias conditions are what determines how much current fl ows through the big power tubes when you’re not playing. And what drives your speakers is fl uctuations in that current fl ow when you ARE playing. If the amount of current increases and decreases 440 times per second, then you’ll hear an A note. If the fl uctuations in current fl ow 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” fl owing with no signal applied that’s important. Unfortunately current is hard to measure because the circuit must be interrupted — as in “cut the wire” — and the meter spliced “in series” with the broken circuit. But measuring VOLTAGE is easy. It is not necessary to interrupt the circuit because a voltage reading can be taken in PAR- ALLEL with the circuit intact.

Thus, as a matter of convenience, most bias settings are given in volts at the grid ... even though current through the plate is the important factor. In fact plate current is so inconvenient (and dangerous) to measure that Fender doesn’t even state what the correct value should be. They only give the grid voltage that will produce that current. (That’s the minus 52.) But that only happens if the tubes being used are “in spec.”

As long as the tubes ARE “in spec”, the right bias voltage will always give the correct plate “CURRENT” — but then there’s no need for the bias voltage to be adjustable!

If the tubes are NOT in spec, then the only proper way to re-set the bias is to cut the circuit and measure the current while adjusting the bias ... but no manufacturer I know even STATES the desired current value! Be that as it may, when the original bias voltage is altered far enough, it will compensate for the tube’s abnormal performance and the correct amount of idle current fl ow may then be restored. Clearly this is something most repair techs should not attempt.

Some newer amps have LED indicators connected to the circuit which will turn on when the right threshold of current fl ow has been reached. This is an improvement, and almost worthy if you’re willing to except resistors and lights added into your amplifi er’s audio path — which we aren’t.

The other “advantage” of this system is that it allows some amp manufacturers to avoid matching their power tubes. The thinking is that adjusting the bias to each tube separately eradicates the inherent differences between the tubes by insuring that the same current fl ows through each one.

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Contents Series Hello from the Tone Farm Series Precautions & Warnings Series Front Panel Amplifi er. Here are the choices Grinding crunch or searing solo soundControls Controls Higher than that of Channel Everywhere between Output Control will serve as the master level controlPresent Go to other amps for their wet sound Used on some of the best recordings to dateRear Panel Necessary from time to time for noise problems Gold somedayFactory Sample Settiings Factory Sample Settings Personal Settings Combo Version Shown 12AX7 Speaker Impedance Matching & HOOK-UP Guide Speaker Impedance Matching & HOOK-UP Guide Wiring SCHEMES...Amplifier to Speaker Cabinets Wiring SCHEMES...Amplifier to Speaker Cabinets Wiring SCHEMES...Amplifier to Speaker Cabinets 16 Ohm Page Page More Page Your amp needed biasing On TRIODES, Pentodes & Irishmen Page Page Reverb RECT-O-VERB Only Page Page Spirit of Art in Technology

pmn specifications

Mesa/Boogie has long been at the forefront of amplifier innovation, and the Mesa/Boogie PMN (Powerful Musical Network) is a testament to the brand’s commitment to exceptional sound quality and versatility. The PMN series is designed primarily for guitarists and musicians seeking a blend of power, flexibility, and tone-shaping capabilities.

One of the main features of the PMN series is its robust power output. With variants that can handle 50 to 100 watts, the PMN delivers enough volume for live performances while also providing the opportunity to dial back the wattage for studio use. This flexibility allows musicians to achieve that desirable "cranked" tube amp sound at lower volumes, making it an excellent choice for in-home practice or studio environments.

Another key characteristic of the PMN series is its advanced tone-shaping capabilities. The amplifiers come equipped with multiple channels, each offering distinct tonal characteristics. Musicians can switch from clean, sparkling tones to rich, saturated overdrives with the flick of a switch. The amp's comprehensive EQ controls allow for detailed adjustments, ensuring that players can sculpt their sound precisely to their liking.

Mesa/Boogie is also known for its innovative technologies, and the PMN series incorporates several cutting-edge features. The "Multi Watt" technology provides options for optimizing power and headroom according to the player's preferences and needs. This design allows the amp to operate in different power modes, giving artists the option to tailor their sound further.

Additionally, the PMN series includes the "Graphic EQ" feature which allows players to visualize and manipulate their sound in real-time. This interactive aspect of tone shaping helps musicians develop their own unique sonic signature.

The construction of the PMN series amplifiers also reflects Mesa/Boogie's commitment to quality. Built from durable materials with a focus on reliability, these amplifiers are designed to withstand the rigors of touring and frequent use. The attention to detail in both craftsmanship and electronics guarantees that players will get reliable performance over time.

Overall, the Mesa/Boogie PMN series stands out as a powerful tool for musicians who demand versatility and exceptional sound quality. With its potent output, advanced tone control, and innovative technology, it serves as a valuable asset for players in a variety of musical genres.