Mesa/Boogie MARK 1 owner manual Triodes, Pentodes

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ON TRIODES, PENTODES & IRISHMENT: (Continued) Thus a diode tube - one with a cathode and an anode - is mostly used to rectify alternating current into direct current by passing it without restriction, but in one direction only. This also explains why closing time is stricly enforced at Irish pubs: During normal operation, the traffic flow is similarily unimpeded and uni-directional toward the bar and this process rectifies the work-day negativity. It goes without saying that no one leaves as long as the atmosphere around the bar remains positively charged.

TRIODES:

This section is a continuing technical treatise on the workings of Irish Pubs but to make it easier for the layman to understand, it is explained in terms of vacuum tube technology. Enter the original bar - free beer and no doors. Well, it turns out that some control over the flow can be a necessary and useful advantage. This led to the invention of those swinging louvered saloon doors which are open at the top and bottom. They are patterned after the control grid of the vacuum tube, which is a loosely wound coil of thin wire located between the cathode and the plate.

In a Triode the plate is always positively charged with high voltage D.C. and even though the grid is blocking the path, those negative electrons can still FEEL the strong attraction - just as the Irishmen can see in through the louvers of the bar doors. They know what pleasures lie beyond, but to get there requires overcoming the negative influences controlling the access. This negative influence is typically called a Bias. In electronic terms that means the grid is supplied with a voltage which is slightly MORE NEGATIVE than the already negative electrons. The more negative the Bias, the more it tends to neutralize the attraction of the plate and repel the electrons back toward the cathode.

The Irish can be similarily charged with Bias, but unless you are Irish yourself, this type of Biasing may be more difficult to understand. The effect is similar though: The more negative the Bias, the more it impedes forward progress. Generally speaking though, the electronic Bias of the grid is easiert to overcome, and for two main reasons: First, the Bias is set - like the bar doors - to allow some passage. Second, the grid is mostly NOT THERE, like the louvered doors which are mostly open spaces. Unlike the plate which is solid, the grid is like a coiled bed spring. It can create a repelling field but mostly it’s empty space in between widely seperated windings of wire. It’s very easy to control the electrons as they pass through the grid’s force field: Changing the grid voltage only slightly will have an enormous effect on how much current flows through... and that’s what AMPLIFICATION is: a small change in voltage at the grid causing a large change in current flowing to the plate.

The purpose of the louvered bar doors is similar to that of the grid, namely, to give momentary pause while still revealing the promise within. Hesitation mostly gives way to temptation, but there are those few stalwart Irishmen who think twice and decide to come back later. Most just pause slightly then go on through. That is the purpose of the bar doors: to prevent everyone from crowding in all at once - and as the door is made less of a barrier, wider spaces between the louvers, more of the bar’s attractive influence is felt outside thus amplifying the customer flow and increasing the crowd at the bar.

PENTODES:

Occasionally though, bar doors - even the louvered type - were found to be too effective, and too many customers turned away. Something further was needed to increase the attraction of the bar and overcome the resistance created by the door. Thus the cocktail waitress was invented.

Once again the idea was inspired by the vacuum tube. It had been discovered in some tubes, often large power types, that the distance to the plate was too great to attract enough electrons past the negative influence of the control grid. So another grid coil of fine wire was inserted between the first grid and the plate. This was called the screen grid and carrying a highly positive charge, it functioned as a “bait” for the plate.

In a properly designed power tube such as an EL84 or a 6V6, the windings of the screen grid are precisely aligned to fall in the shadow of the control grid. This way the electrons responding to the pull of the screen grid are lined up in sheets as they pass between windings of the inner control grid... only to find that they have been fooled! Once past the control grid and drawn toward the screen grid, they discover...there’s almost nothing there.The path they’re on has them aligned to zing straight through the spaces BETWEEN screen grid windings. So rather than a close and personal encounter, they just fly on past - and once they’re out that far, there’s no

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Contents Mark 1 RE -ISSUE Hello from the Tone Farm MK-1 Precautions & Warnings Mark 1 Operating Instructions OverviewFront Panel Front Panel Warm tone and spongy, elastic feel Rear Panel Rear Panel Amp Mark Personal Sample Settings Sheet Tube Noise Tube Maintenance & MicrophonicsDiagnosing Power Tube Problems Diagnosing PRE AMP Tube Problems MIS-MATCHING What is MY Cabinets ImpedanceSpeaker Impedance Matching & HOOK-UP Guide SeriesParallel Combination of Series & ParallelWiring SCHEMES...Amplifier to Speaker Cabinets Wiring SCHEMES...Amplifier to Speaker Cabinets Wiring SCHEMES...Amplifier to Speaker Cabinets Safe Mismatch Screen Bias Adjustment Cheers Randall Smith Designer and President On TRIODES, Pentodes & Irishmenn Triodes PentodesPage Mark Mesa Boogie Spirit of Art in Technology

MARK 1 specifications

The Mesa/Boogie MARK 1 is an iconic guitar amplifier that has significantly influenced the world of music since its introduction in the late 1960s. Designed by Randall Smith, the MARK 1 was one of the earliest examples of a high-gain, boutique-style amplifier, aimed at offering guitarists a versatile tool for achieving rich tones across various genres.

One of the standout features of the MARK 1 is its innovative preamp design, which utilizes multiple gain stages to produce a wide range of tonal options. This allows players to achieve everything from sparkling clean sounds to aggressive, saturated overdrive. The two-channel configuration—clean and lead—enables users to switch effortlessly between different sounds, making it a favorite among performers looking for adaptability in their rig.

The MARK 1 is also equipped with a powerful EQ section, featuring a 5-band graphic equalizer that grants further control over tonal shaping. This level of customization is rare in amplifiers of its time, allowing musicians to tailor their sound to perfection, whether in the studio or on stage. The “Fat” switch adds additional low-end response and gain, enhancing the amp's overall character and making it suitable for heavier genres.

Another hallmark of the MARK 1 is its compact design, which was revolutionary at the time. Weighing significantly less than traditional tube amplifiers, the MARK 1 was constructed with portability in mind, making it easy for gigging musicians to transport. This combination of power and portability made the MARK 1 a popular choice for artists across various genres, from rock to blues and jazz.

The MARK 1, like many of Mesa/Boogie’s offerings, is built with high-quality components, ensuring durability and reliability. The use of premium tubes in the power section contributes to its dynamic response and harmonic richness, vital for expressive playing.

Overall, the Mesa/Boogie MARK 1 is more than just an amplifier; it's a landmark in guitar amplification technology. With its versatility, compactness, and powerful tone-shaping capabilities, the MARK 1 paved the way for future amplifiers and continues to be revered by musicians around the world for its outstanding performance and timeless sound. Whether performing live or recording in the studio, the MARK 1 remains a trusted companion for guitarists seeking to explore the full spectrum of their musical expression.