![](/images/new-backgrounds/1023957/2395731x1.webp)
REAR VIEW MKIV (Continued)
SIMUL-CLASS / CLASS A SWITCH:
This switch selects between
|
|
|
|
| AMP |
| TRIODE | HARMONICS |
| POWER and TRIODE. | |||||||||||||
|
|
|
|
|
|
| |||||||||||||||||
5 |
| 2 |
|
|
|
|
|
|
|
|
|
|
|
| VOICING |
|
|
|
|
|
| ||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |||||
6 | 43 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
| 1 |
| POWER |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
8 |
| 10 | 0 |
|
|
|
|
|
|
|
|
|
|
|
|
| LEAD |
|
|
|
|
| In the |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
| PENTODE | CLASS A | MID GAIN |
| the total output is combined through our unique output transformer. You’ll find an increase in | |||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
LEVEL |
| OUT |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |||||
5 | 43 |
|
| SPEAKERS |
|
| 8 OHM 4 OHM |
| 4 OHM |
| |||||||||||||
| 2 |
|
|
|
|
| or 70 watts TRIODE (power ratings based on standard U.S. music amp specs which call for 120 | ||||||||||||||||
6 |
| 10 | 0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |||
7 |
|
| 1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| volt A.C. Mains and allow 5% distortion). | |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
When you deliberately push the power section into clip, the wattage continues to rise, peaking out at about double. The MARK IV provides an external jack for the power switching function so this feature can be programmed to operate in sync with, say, RHYTHM 2 via a MIDI switcher such as our MIDI Matrix.
NOTE: For the external jack to function properly, the
HARMONICS / MID GAIN SWITCH:
This switch affects the LEAD mode only. Most noticeable is the big increase in gain and sustain when MID GAIN is selected. This
added gain is focused in the | |||||||||||||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| “threshold of distortion” point discussed earlier. Using this low setting with the MID GAIN on |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| (switch in the down position) produces a punchier, fatter blues sound, especially when used |
|
|
|
|
|
| AMP |
| TRIODE | HARMONICS |
| |||||||||||||
|
|
|
|
|
|
|
| ||||||||||||||||
5 | 43 |
|
|
|
|
|
|
|
|
|
|
|
| VOICING |
|
|
|
|
| with Pentode and | |||
| 2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||||
6 |
|
|
| 1 |
| POWER |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||
|
|
|
| 0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||
8 |
| 10 |
|
|
|
|
|
|
|
|
|
|
| LEAD |
|
|
|
|
|
| |||
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||
|
|
|
|
|
| PENTODE |
|
|
|
|
|
|
|
|
|
|
| ||||||
|
|
|
|
|
| CLASS A | MID GAIN |
| As the setting of the LEAD DRIVE control is increased, the MID GAIN continues to add huge | ||||||||||||||
|
|
|
|
|
|
|
| ||||||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
| LEVEL | OUT |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| amounts of extra boost, which at some point will become overwhelming and will cause unnec- | |||||
|
| 43 |
|
| SPEAKERS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |||
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| essary noise, squealing and feedback when used in conjunction with the LEAD BRIGHT and | |||||
| 2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||||
6 |
|
| 1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |||||
8 |
| 10 | 0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ||||
9 |
|
|
| 8 OHM |
|
| 4 OHM |
| 4 OHM |
| LEAD FAT switches. For loud | ||||||||||||
|
|
|
|
|
|
|
| ||||||||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| switch in its HARMONICS position (so named because it produces a carefully balanced har- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
monic spectrum rather than the blatant
POWER TUBE SUBSTITUTION:
This procedure is in keeping with Mesa/Boogie’s quest for ultimate versatility. As you know, different tubes offer different sounds and playing characteristics and your new MARK IV offers four choices: FIRST: the standard four 6L6’s which produce by far the best all- around performance. They deliver the most powerful clean sounds along with the richest distortion. SECOND: Type 5881 is similar to the 6L6, but these tubes are just slightly less powerful. Although they will produce a somewhat rounder, more “vintage” tone. THIRD: For those seeking the traditional British edge to their overdrive sounds,
FOURTH: Those of you who recall the great sounds of old Fender Deluxes will be delighted to know that four 6V6’s can also be used in the MARK IV...but, ONLY when TWEED and
PAGE 12