Mesa/Boogie Mark IV Amplifier manual Rhythm 2 Treble, R2 Presence, R2 Master

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 become more dominant adding warmth to the
										43
7	6	5		7		6		5	5			sound.
		4	8					4	6
8								3	7		2
		3	9
9									8
									9		1
10		2	10					2		0
							1		10
	0	1			0
R1 +R2 BASS			R1 +R2 MID						R2 TREBLE

R2 PRESENCE:

RHYTHM 2’s PRESENCE control also works on higher frequencies than the TREBLE, so by working with both controls, you can produce any sound from fat and thick to searing and shredding. Don’t be surprised if loud group playing requires higher PRESENCE control settings to cut through...this is why we’ve provided the three modes with their separate Presence

6	5	PRESENCE CONTROLS		7	6	5	SHIFTPULL		5	4		controls.
0	1				0	1		10		0
	4		8			4		7		3
	3		9			3		8			2
	2		10			2		9			1	The RHYTHM 2 (and LEAD) PRESENCE control also has a PULL SHIFT feature. This Shift normalizes
TREBLE				R 1				R 2
												the amount of high frequencies produced in the power section. With the PULL SHIFTS engaged, the

Presence controls will be more effective and will act on a higher frequency range. When the SHIFTS are pushed in, a punchier, more aggressive tone is produced and the PRESENCE controls effectiveness is reduced.

R2 MASTER:

This MASTER control is used to balance playing loudness in RHYTHM 2 and also determines the amount of RHYTHM 2 signal at the Effects Send jack.

9 3

10		2
	0	1

R2 TREBLE LEAD DRIVE

8	7	6	5
			4
9			3
10
			2
		0	1

PRES	CONT
PULLBRIGHT	MASTERS

9 3

10			2
		0	1
	R 1
8	7	6	5
			4
9			3
10
			2
		0	1

PULL

9 3

10				2
		0	1
	R 2
7	6		5	4
				3
					2
8
9				0	1
		10

SETTING THE LEAD MODE:

LEAD GAIN:

This control sets up the input sensitivity for the LEAD mode. The more signal strength dialed in here, early in the preamp, the more distortion will be available at the LEAD DRIVE control. Yet it is not necessary or recommended to turn the LEAD GAIN fully up.

8	7	6	5
			4
9			3

10		2
	0	1

RHY1 GAIN

INPUT

PULLBRIGHT INSTRUMENT

8	7	6	5
			4
9
			3

10		2
	0	1

RHY2 GAIN LEAD GAIN

9	8		7	6
					5
10					4
0		1	2		3

PULLFATPULLFAT

Best results will occur with settings in the 8 range. As you approach a Gain of 7 the Lead sound will become extremely focused, rich and smooth; above 8 , total saturation occurs, reducing the effectiveness of the tone controls and causing increased “microphonics” and noise in the preamp tubes. You’ll notice subtle shifts in distortion tonality by trying different mixes of LEAD GAIN and LEAD DRIVE. The LEAD GAIN control incorporates a PULL FAT for thickening the sound and saturating the signal further. This pull shift lowers the frequency of the Treble, adding a boost in the lower midrange. Try this shift for beefing up the sound of weaker, stock pick-ups or simply for adding focus at virtually any setting of the GAIN control.

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