MESA BOOGIE

Owner's Manual

The Spirit of Art in Technology

1317 Ross Street Petaluma, CA 94954

USA
 Greetings From The Home Of Tone

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 amp bred of fine all tube heritage...benefiting from
the many patented pioneering Mesa/Boogie circuits. Feel confident, as we do, this
amp will inspire many hours of musical satisfaction and lasting enjoyment. It was
built with you in mind, by players who know the value of a fine musical instrument
and the commitment it takes to make great music. The same commitment to quality,
value and support we make to you...our new friend.
 Table of Contents
PRECAUTIONS:
OVERVIEW: ____________________________________________________________________________ 1
INSTANT GRATIFICATION
(3 DEMONSTRATION SETTINGS) __________________________________________________________ 2

CHANNEL / MODE SELECT:

RHYTHM CHANNEL: CLEAN & PUSHED ___________________________________________________ 3
LEAD CHANNEL: VINTAGE & MODERN ____________________________________________________ 3

CONTROLS:
GAIN __________________________________________________________________________________ 3
TREBLE _______________________________________________________________________________ 4
MIDDLE _______________________________________________________________________________ 4
BASS _________________________________________________________________________________ 4
PRESENCE ____________________________________________________________________________ 5
MASTER _______________________________________________________________________________ 5
OUTPUT CONTROL _____________________________________________________________________ 6
SOLO CONTROL _____________________________________________________________________ 6 / 7

TOGGLE SWITCHES:
STANDBY ______________________________________________________________________________ 7
POWER _______________________________________________________________________________ 7

BACK PANEL:
AC RECEPTACLE _______________________________________________________________________ 8
FUSE _________________________________________________________________________________ 8
SLAVE OUT ____________________________________________________________________________ 8
SPEAKERS ____________________________________________________________________________ 9
FX LOOP: SEND / RETURN / MIX _________________________________________________________ 9
REVERB: RECT-O-VERB COMBO & RECT-O-VERB HEAD ____________________________________ 9
CHANNEL SELECT TOGGLE ______________________________________________________________ 9
FACTORY SAMPLE SETTINGS PAGE _________________________________________________ 10 / 11
PERSONAL SETTING PAGE _________________________________________________________ 12 / 13
TUBE TASK CHART ____________________________________________________________________ 14
TUBE MAINTENANCE ______________________________________________________________ 15 / 16
SPECIAL ARTICLE REGARDING TUBE BIASING By Randall Smith ______________________ 17/ 18 / 19
PARTS SHEET _________________________________________________________________________ 20
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 circulation behind amplifier.

Keep amplifier away from children.

Be sure to connect to an AC power supply that meets the power

supply specifications listed on the rear of the unit.

If there is any danger of lightning occurring nearby, remove the

power plug from the wall socket in advance.

To avoid damaging your speakers and other playback equipment,

turn off the power of all related equipment before
making the connections.

Do not use excessive force in handling control buttons, switches

and controls.

Remove the power plug from the AC mains socket if the unit is to
be stored for an extended period of time.

Do not use solvents such as benzene or paint thinner to clean the

unit. Wipe off the exterior with soft cloth.

Be sure to have the warranty card for this product filled out by the
store at which it was purchased and return to Mesa Engineering.

YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE

PERMANENT HEARING DAMAGE
NO USER SERVICEABLE PARTS INSIDE: Refer service to qualified personnel. Always unplug AC
power before removing chassis.

EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding
conforms with local standards.

READ AND FOLLOW INSTRUCTIONS FOR PROPER USAGE.

 Table of Contents
Overview:
Congratulations on your choice of the SINGLE RECTIFIER 50. You have purchased a handbuilt instrument of the finest quality
and craftsmanship. A unique blend of yesteryears’ black magic power section design combined with our race-shop approach to finely
tuned, high gain pre-amp circuitry leaves the RECT-O 50 standing alone...instantly a classic destined for vintage status. With two
channels housing four definitive and distinctly different Modes, a complete array of amazing guitar sounds can be obtained quickly
and easily.

Looking to the Rear Panel assures that all your interfacing needs are covered. A Parallel Effects Loop with a MIX control provides tone
insurance for even those questionable effects. To use the SINGLE RECTIFIER 50 in larger rack systems, or to interface to other
power sections, the SLAVE jack and is a welcome feature. Two speaker jack combinations have been provided - two 4 Ohm and one
8 Ohm - to ensure the proper impedance match to many types of speaker enclosures. The other features will prove to be quite
valuable to you and further along in this manual they are covered extensively.

FRONT VIEW HEAD VERSION: SOLO HEAD 50 Instant Gratification Demo Settings

CLEAN
RHYTHM
ON ON

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT

POWER STANDBY SOLO OUTPUT

LEAD
MODERN

REAR VIEW HEAD VERSION: SOLO HEAD 50

WARNING:
SOLO HEAD 50 ALL-TUBE AMPLIFIER HANDBUILT IN PETALUMA, CALIFORNIA Unplug power
before replacing
SET TO RHYTHM fuse or removing
bolts mounting
WHEN USING EFFECTS LOOP SPEAKERS chassis.
FOOTSWITCH

RHYTHM
SLAVE
FUSE
FUSE

10% 10 0%
POWER FUSE
WARNING: To reduce risk of fire or CAUTION: To reduce risk of fire or electric FX MIX RETURN SEND 8 OHM 4 OHM 4 OHM OUT 120 V~ 2.5 A
electric shock, replace fuse with shock, do not remove cover. No user-
LEAD same type and rating only. Do not serviceable parts inside. Refer 50-60 Hz SLO
expose this unit to rain or moisture. servicing to qualified personnel.
PATENTED 4,211,893 AND OTHERS PENDING 2.5 A BLO

REAR VIEW - HEAD VERSION

FRONT VIEW COMBO VERSION: RECT-O-VERB 50

CLEAN RHYTHM
ON ON
PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
STANDBY POWER
MODERN
LEAD

REAR VIEW COMBO VERSION: RECT-O-VERB 50

WARNING:
Unplug power
before replacing
fuse or removing SET TO RHYTHM
bolts mounting SPEAKERS EFFECTS LOOP WHEN USING
chassis.
SLAVE FOOTSWITCH

1 RHYTHM
FUSE
FUSE REVERB
2
10% 10 0%
POWER FUSE FT.SW OUT
120 V~ 2.5 A 8 OHM 4 OHM 4 OHM FX MIX RETURN SEND WARNING: To reduce risk of fire or CAUTION: To reduce risk of fire or electric
electric shock, replace fuse with shock, do not remove cover. No user-
50-60 Hz SLO same type and rating only. Do not serviceable parts inside. Refer
PATENTED 4,211,893 AND OTHERS PENDING expose this unit to rain or moisture. servicing to qualified personnel. LEAD
2.5 A BLO

FT.SW. LOCATED UNDER CHASSIS RECT-O-VERB COMBO & HEAD

PAGE 1
 FRONT PANEL:
First familiarize yourself with the layout of the Front Panel. Next, remove the footswitch from the transport pouch located inside the
cabinet ( combo ) and connect it to the proper jack. RECT-O-VERBS use a DIN jack located on the rear of the chassis directly
behind the label FOOTSWITCH. SOLO 50 HEADS use a 1/4 jack on the right side of the Front Panel. If the footswitch is not
available, you may select the two channels via the manual Channel Select toggle located on the far left of the Rear Panel.

CLEAN
RHYTHM
ON ON

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT

POWER STANDBY SOLO OUTPUT

LEAD MODERN

SOLO 50 HEAD VERSION

POWER-UP:
First remove the protective covers from the tubes (plastic webbing) before connecting the A.C. cord to a power
receptacle. Connect your favorite guitar to the instrument INPUT jack. Flip the POWER switch to the ON position while leaving the
STANDBY switch set to STANDBY.” (It is always a good idea to practice this start up procedure as at least 30 seconds of warm-up
time lessens the shock on cold power tubes, thus prolonging their life substantially.) Next, using the example below as a guide, set the
controls as illustrated and flip the STANDBY switch to the ON position to listen to the two distinctly different channels using either the
footswitch or the Channel Select toggle switch as mentioned in the paragraph above.

Before discussing each control, let’s audition a couple of possible ways the two channels might be configured for footswitchable
sounds. The first example leans towards a more traditional format with a clean rhythm dialed up on the top RHYTHM ( Green )
channel and a moderate gain, vintage style solo sound dialed up on the bottom LEAD ( Red ) channel.

CLEAN
RHYTHM
ON ON

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT

POWER STANDBY SOLO OUTPUT

LEAD
MODERN

This second example leans in a more aggressive direction with the top channel switched to PUSHED for a crunchy high gain rhythm
sound and the bottom channel switched to MODERN for a blistering lead voice.

INSTANT GRATIFICATION: Demo Setting #2

CLEAN
RHYTHM
ON ON

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT

POWER STANDBY SOLO OUTPUT

LEAD
MODERN

NOTE: CAUTION - REDUCE THE OUTPUT LEVEL CONTROL BEFORE PLAYING THESE SOUNDS AS THE ADDED GAIN
INCREASES VOLUME LEVELS.

Now that you’ve heard the SINGLE RECT-O 50’S two channels, let’s move on to understanding the controls and their interactive
roles in achieving the sounds that you want to hear.
PAGE 2
 CHANNEL / MODE SELECT:
Each channel of your amplifier contains two different Modes of operation that may be selected depending on your application. In this
way you may decide to use the channels for their most obvious sounds or with the flick of a switch - invert the channels for the opposite
sound style. The voicing of the modes is accomplished by rerouting and reconfiguring the circuit in both pre-amp and power sections
of the amplifier. Here are the choices;
CLEAN

RHYTHM ( Top ) Channel

PUSHED
CLEAN: (toggle up) delivers a sparkling rendition of the classic black face style rhythm sound with the added
FT.SW INPUT

HEAD VERSION dynamic response of the RECT-O 50’S super quick driver circuit. This is a low gain mode that is optimized
for fast clear attack, huge breathy low end response and the impression of headroom far in excess of the
conservative 50 watt rating. It may also be cranked to produce a vintage style clip when the GAIN control is maxed that is relatively
uncolored when compared to the PUSHED sound. This is preferable when you wish to retain more of the guitars’ natural character
and don’t need thick saturation.

PUSHED: (toggle down) adds substantial gain by saturating another tube stage and revoicing the treble frequencies to respond
much better with overdriven sounds. A by-product of adding this extra gain is a masking of some of the sparkling highs - which lends
a sort of natural tube compression, making PUSHED an alternate and quite amazing lead mode - along with its obvious crunch rhythm
potential.

LEAD ( Bottom ) Channel

VINTAGE: (toggle up) is the creamier, warmer sounding of the RECT-O’S two lead modes and therefore excels at single note solo
sounds by producing a rounder attack with more elasticity as the notes decay. Often first misinterpeted by short demos, this mellower
blend becomes many owners’ favorite sound as they explore the ever changing harmonic content and precious attack envelope.

MODERN: (toggle down) is emphasized attack. This is by far, the most aggressive, forward, in your face
VINTAGE
FT.SW INPUT sound in the RECT-O’S quiver of modes. By stripping negative feedback from the power section and revoicing
MODERN
the pre-amp to respond with a more urgent feel in the time domain, a beast is unleashed and the amp that was
moments ago singing with a sweet languid voice, becomes downright dangerous.
HEAD VERSION

NOTE: It is normal to hear a volume increase when the MODE SELECT is toggled between the VINTAGE and MODERN Modes in
the LEAD channel. This is a result of the substantial change in power section sensitivity as negative feedback is removed and applied
with the change in modes.

CONTROLS:
GAIN:
Like most amplifiers, the GAIN control in each channel determines its sensitivity and overall tonal characteristics. It meters the
amount of Gain that your guitar signal will produce. In the RECT-O 50, we paid special attention to the amount and frequencies of
gain present in each mode, making sure the whole range of available gain is musically usable. We also worked diligently with our
suppliers to develop pots with tapers useful to players that require that touch sensitive
CLEAN
relationship of input signal level to gain saturation. An essential ingredient to a great
amps expressive nature. To maximize your expression, spend time learning the different
regions of the GAIN control in each mode and tonal colors they enhance. Almost more -
PUSHED

GAIN
or certainly equal to the tone controls - the GAIN control shapes your sound.
VINTAGE
FT.SW INPUT
As a general guideline, the lower regions of this control produce brighter, tighter, faster
MODERN sounds with enhanced dynamics...the higher the GAIN control setting - the warmer, fuller,
more saturated and more compressed ( less dynamic ) the sound becomes. Remember
HEAD VERSION that with this sensitive control the entire character of the channel is determined. Because
the RECT-O 50 is a hyper-tuned gain machine some of the best and most musical sounds are found in the middle ranges of this
control. In other words...more is not always better.
PAGE 3
 CONTROLS: (Continued)

TREBLE :
As with most guitar amplifiers, the TREBLE control is the strongest of the three rotary tone controls. Its setting on the RECT-O 50
determines the blend and strength of the MIDDLE and BASS controls. Set high, it is the dominant control, thus minimizing the amount
of Mid and Bass that would be possible in the mix. Set low, the TREBLE becomes the recessive control and
a warmer, darker blend is produced. Dial with care. Subtle tweaking of this control tends to produce the best
results.

TREBLE GAIN

HEAD VERSION

MIDDLE :
The MID control determines the blend of midrange punch and boldness. It also has a great deal to do with how a sound feels to play.
Setting the Midrange low scoops the attack, making the sound and feel more liquid and resilient. Setting the MID control higher
introduces more punch and authority, helping sounds cut through a mix better. Setting the Mids very high may make the strings feel
a little stiffer and less spongy. Keep this in mind when dialing up your sounds so that you can retain the best
feel on the strings, allowing you to always play your best.

In the PUSHED Mode, the MID control set low produces a sweeter, smoother clip and really allows this
MID TREBLE sound to purr. Try the GAIN control set at around or so and the MID control set at around to
for a tasty blend of smooth dynamic overdrive. Add Treble to focus the attack and fatten with the BASS
control. Presence will “Open up” or compress this beyond vintage sound that howls with authenticity. This
has to be one of the best sounds in the RECT-O 50 !
HEAD VERSION
At high Gain settings in either the Vintage Orange or Modern Red Modes, the MID control dials in punch and
aggression. For the tightest crunch chording, set the MID control high, say around . To make single notes feel juicier and
more liquid, reduce the MID control to around or so. In the Modern Red Mode, using the Mid higher and in conjunction with the
PRESENCE control also set high, delivers a down right ugly crunch that’s huge and angry - not fit for the meek! This setting also
sounds great and becomes easier to play and more elastic feeling with the GAIN control set at or higher.

BASS:
This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE control. It should be
set with moderation as extreme settings in either low or high directions can produce an unbalanced tone. Be “especially” careful in
higher Gain settings of either channel. Too much Bass will cause a flabby unfocused sound.

Try setting the BASS control to for clean sounds in the clean Mode and or below when dialing up
high gain overdriven sounds in this Mode. In the LEAD Modes, try setting the BASS somewhere between
BASS MID and . These settings will vary with the amount of Gain and Treble you have dialed up.

HEAD VERSION

PAGE 4
 CONTROLS: (Continued)

PRESENCE:
These are controls that work in the power section to reduce attack and brightness. They work on a different frequency than the
TREBLE control, and depending on the mode chosen and the amount of Gain dialed up, can sound higher or lower than the Treble
frequency.

In the RHYTHM mode it dials in sparkle and shimmer, letting clean sounds cut through better. Balance the
Treble and Presence until the desired blend is reached. When you have high gain or distortion sounds
dialed up, you will find it very helpful in darkening and compressing the sound for single note work. Set the
PRESENCE BASS PRESENCE control low and this compression will also focus the notes and omit any unwanted “buzzy”
frequencies. For high gain chording try higher settings of the PRESENCE control to bring out the harmonic
haze. In the LEAD channel the Presence circuitry is quite advanced because it switches from one type of
Presence located in one part of the power section, to a different Presence circuit located earlier in the pre-
HEAD VERSION amp section.

This switching makes the complete transformation possible that delivers the VINTAGE Mode authentically and the Modern high gain
Mode absolutely over the top! In the Vintage Mode the Presence is similar in strength and frequency to that of the Green RHYTHM
channels’ CLEAN Mode. Set low it warms up single notes ‘til they purr. At high settings it adds bounce and improved dynamics that
can really help when you want to back your guitar volume down and “clean up” for rhythm playing.

When the Red Modern high gain Mode is called up, the PRESENCE control makes the move to a new place in the circuit and gets
revoiced to work on a lower frequency. Just right for adding attack and urgency, this Presence is the aggression control. It is normal
for high settings of this control to make Modern Red seem extremely loud in comparison to the other Modes. This is a result of
“unclamping” what worked as the Presence in the other three Modes and letting the RECT-O’S ponies run free. It is in fact, the
loudest setting on the amplifier.

Use this Presence with discretion as it can make for some ear damaging, almost harsh sounds if set too high. Try the Modern Mode
with the GAIN control set high, around to . Dip the MID control to - then increase the Presence to dial in the right
attack and blend of aggression. You may want to play with the balance between the MID and PRESENCE controls as they are
somewhat similar in that they are very powerful and dominant in Modern. With these two controls dialed right, Modern is to this day the
most huge and heinous crunch we’ve come across. When you hear this, you will probably won’t believe that this could be the same
amp that moments ago was crying the blues with such mournful conviction.

MASTER:
A simple control found on most amps today, these serve to balance the playing level of the two channels. They enable the pre-amps
GAIN control to be used in a wide range of settings, while never having to affect the listening level. On the SINGLE RECTIFIER
50 these MASTERS serve another purpose as well. When the FX LOOP is in use, these MASTER controls double as Effects Loop
Send Level controls.

This is not their primary function, but the setting here does affect the channels’ Send strength. We have
found the middle ranges through to be vary well behaved for most effects. Setting the MASTERS in
MASTER PRESENCE this region should make for trouble free effects interfacing when using the loop.

HEAD VERSION

PAGE 5
 CONTROLS: (Continued)

OUTPUT:
This control determines the overall output volume level of the amplifier. After the GAIN controls have been set for the desired sound
style and the two channels levels have been balanced with the channel MASTER controls, the OUTPUT control allows you to change
the playing level by adjusting a single control. The OUTPUT control is also wired as the Effects Loop Return
Level control. Should you ever use your RECT-O 50 as a power amp alone by inserting a signal into the
RETURN jack, the OUTPUT control will serve as the master level control.

NOTE: When using the EFFECTS RETURN as an input - to use the RECT-O 50 as a power amp - the
SOLO control can be used to attain a footswitchable boost if the Footswitch is connected. It is wired in
SOLO OUTPUT parallel to the OUTPUT control and therefore also controls the volume of the power section.

NOTE: The Effects Loop RETURN jack can serve as a power amp input so that you may use your SINGLE
HEAD VERSION RECTIFIER as a power amplifier for either stereo reproduction or to incorporate additional pre-amps.
While the possibilities for this type of application are virtually limitless, there are a few things to remember
that will help you when interfacing to the RECT-O for use as a power amp only;

1.) Connect “Dummy” plug or loose cable to SEND jack. ( This prevents any possible loading that could result in diminished RETURN
sensitivity.)

2.) The OUTPUT Level will be the only active control on the Front Panel (the PRESENCE control of the top / Rhythm channel will be
active only when that channel is engaged - see #3 )

3.) The SOLO control may be used to footswitch to a pre-determined amount of boost when the footswitch is connected.

4.) The lower LEAD channels’ MODERN mode - as part of its voicing - utilizes substantially less negative feedback in the power stage
creating a scenario of greatly increased power sensitivity. This internal revoicing produces amazing results in the lead sounds and
requires a sophisticated network of elements to switch to prevent the increased power sensitivity from blowing you out of the room as
the LEAD channel is toggled between VINTAGE and MODERN.

Therefor, we recommend selecting the top / RHYTHM channel when you wish to use the RECT-O as a power amp. The more
conventional power sensitivity of this channel will be the most compatible with external sources. Another benefit to using the RHYTHM
channel in a power-only application is that the PRESENCE control will be active and allow you to tailor the power voicing to your
specific tastes. If you do need the extra sensitivity the MODERN mode produces for a source that is unusually weak, it is there if you
need it. Simply select the LEAD channels MODERN mode. The PRESENCE control will not have any effect on the sound as it
switches with the mode change to an earlier stage in the pre-amp.

5.) The EFFECTS MIX control must be set to 100%.

SOLO:
This control can only be activated if the correct Footswitch is connected to the Footswitch DIN jack. SOLO is an additional final
output level control wired in parallel with the OUTPUT control. It is capable of a setting above that of the
OUTPUT control and can not be set below. The amount of apparent boost also depends on that of the
OUTPUT control - in that if the amplifier is at either the extreme low or extreme high levels of the OUTPUT,
its effectiveness is minimized. It has been optimized for live performance volume levels.

If the power section is either not a part of the sound (super quiet), or producing all its rated wattage ( super
SOLO OUTPUT
loud), there is very little signal for the SOLO control to work with. By using the Footswitch and selecting

HEAD VERSION PAGE 6

 CONTROLS: (Continued)

SOLO: (Continued)
SOLO, a pre-settable boost in overall levels is possible on the fly...giving you some control over your levels when it’s time to step out.
Engineers may give you a bit of a frown the first time you use it...but isn’t it time you heard yourself. It might even prevent them from
punishing you with the dreaded monitor or sidefill version of your tone.

STANDBY:
Perfect for set breaks... this toggle switch also serves an even more important purpose. In the Standby position the tubes are at idle
so that during power up they may warm up before being put to use. Before Power is switched on make sure the STANDBY switch is
in the Standby position. Wait at least 30 seconds and then flip the STANDBY switch to the ON
position. This prevents tube problems and increases their toneful life substantially.
ON ON

POWER STANDBY

HEAD VERSION

POWER:
This switch delivers the A.C. power to the RECT-O 50. Make sure the unit is grounded (all three terminals of the A.C. power cord
must be connected whenever possible to avoid injury to the user as well as to the unit) and that the proper voltage is present. Follow
the cold start procedure described in the ON/ STANDBY section above when powering up your
new RECT-O 50.
ON ON

POWER STANDBY

HEAD VERSION

REST AREA

PAGE 7
 REAR PANEL:
WARNING:
SOLO HEAD 50 ALL-TUBE AMPLIFIER HANDBUILT IN PETALUMA, CALIFORNIA Unplug power
before replacing
SET TO RHYTHM fuse or removing
bolts mounting
WHEN USING EFFECTS LOOP SPEAKERS chassis.
FOOTSWITCH

RHYTHM
SLAVE
FUSE
FUSE

10% 10 0%
POWER FUSE
WARNING: To reduce risk of fire or CAUTION: To reduce risk of fire or electric FX MIX RETURN SEND 8 OHM 4 OHM 4 OHM OUT 120 V~ 2.5 A
electric shock, replace fuse with shock, do not remove cover. No user-
LEAD same type and rating only. Do not serviceable parts inside. Refer 50-60 Hz SLO
expose this unit to rain or moisture. servicing to qualified personnel.
PATENTED 4,211,893 AND OTHERS PENDING 2.5 A BLO

REAR VIEW - HEAD VERSION

A.C. RECEPTACLE:
The total power consumption for the RECT-O 50 is 2.5Amps @ 120 Volts. Thus, a 15 Amp circuit (which is what most house
circuitry is wired with) is adequate. Make sure the Euro style A.C. power cord is firmly seated in the power receptacle before powering
up the unit. Always connect the A.C. cord to a 3 terminal grounded socket. If none are available, connect
WARNING:
Unplug power
before replacing
the A.C. power cord to a ground lift adaptor and then connect to a 2 terminal outlet. This may also be
fuse or removing
bolts mounting
chassis.
necessary from time to time for noise problems.

FUSE
FUSE
This style of power cord will make tear-downs and cable routing a lot easier and save you time as well. If
you should ever need a replacement, just call and we’ll be happy to send you another one for a nominal
POWER FUSE charge or visit your nearest Mesa/Boogie Pro Center.
120 V~ 2.5 A
50-60 Hz SLO
2.5 A BLO

HEAD VERSION

FUSE:
This is the A.C.’s (Alternating Current) main fuse and provides protection from outside A .C. fluctuations as well as power tube failure
damage. Should the FUSE blow, replace it with the same rating in a Slo-Blo type package. The domestic U.S. version requires a 2.5
amp Slo-Blo fuse. A power tube short or failure is often the cause of a blown fuse...Follow the cold start
WARNING:
procedure mentioned in the ON/STANDBY switch section and watch the power tubes as you flip the
Unplug power
before replacing
fuse or removing
STANDBY switch to the ON position.
bolts mounting
chassis.

If a power tube is going bad or is arcing you will see it! Flip the STANDBY switch to Standby immediately
FUSE
FUSE and replace the faulty power tube and the fuse if necessary. If you see nothing abnormal as you lift the
STANDBY switch it is possible that a power tube shorted temporarily and blew the FUSE. If this is the
POWER FUSE
120 V~ 2.5 A case it may work again normally. To be extra safe, you might want to replace just the adjacent tube or all
50-60 Hz SLO
2.5 A BLO power tubes in the “shotgun” troubleshooting tradition and save the replaced set as spares. Spare
fuses are a must for the fabled cord bag along with your spare tubes. Always carry both for they could
HEAD VERSION
be worth their weight in gold someday.

SLAVE OUT :
This 1/4" jack provides a signal derived from the speaker jack. Perfect for using the RECT-O 50 as a master pre-amp, or additional
power amps may be connected for more power when needed. Some players use this to derive an FX Send Signal and go to other
amps for their wet sound.
WARNING:
Unplug power
before replacing
fuse or removing
NOTE: Once a signal is taken from the SLAVE, it can not be inserted back into the FX Loop
SLAVE
bolts mounting
chassis. Return jack or a feedback loop will occur. Much like holding a microphone into the PA system’s
cabinets...a loud high pitched squeal will occur.
FUSE
FUSE

POWER FUSE
OUT
120 V~ 2.5 A
50-60 Hz SLO
2.5 A BLO

HEAD VERSION
PAGE 8
 SPEAKERS:
Sensitivity to speaker mismatching in regards to ohmage differences is low, hence no damage to the amplifier will occur. However,
very low ohmage loads will cause the power tubes to wear faster. The RECT-O 50 (combo only) is equipped with a Celestion
Custom 90 single 12 inch - 8 Ohm speaker, but as you can see, other speaker configurations may be
SPEAKERS
used. When using two 8 Ohm speakers, connect each of them to the 4 Ohm speaker jacks that are
provided, this will equal a 4 Ohm load which is the proper impedance required when using this particu-
lar speaker configuration.
8 OHM 4 OHM 4 OHM

EFFECTS LOOP: SEND / RETURN & MIX

These two 1/4" jacks are the patch point for external signal processing effects. The EFFECTS LOOP in the RECT-O 50 is wired in
parallel with the unaffected or dry signal which enables you to preserve the integrity of the all tube tone and feel that the RECT-O 50
is capable of delivering. To use the EFFECTS LOOP for your processors, simply connect the
Effects Loop SEND jack to your first effects’ Input jack. Connect your last effects Output jack to
the Effects Loop RETURN jack.
EFFECTS LOOP

Use the rotary MIX control to blend in the desired amount of the processed signal with the original
dry signal. The least degradation of signal is usually found by setting the processor’s mix at 100%
10% 100%
and the EFFECTS LOOP MIX control at the lower end of the control. In this manner the least
FX MIX RETURN SEND
amount of your pure tone will be processed and you will be dialing in a “very small amount” of a
“very wet” signal to be mixed with the original. This method seems to produce the best results for
tone and signal to noise ratio. The EFFECTS LOOP interrupts the signal between the pre-amp
and power section. Therefore, the RETURN jack can double as a power amp input jack. You will also want to run the MIX control at
100% to use the EFFECTS LOOP as a Power In patch point. Connect your last effects’ Output jack to the Effects RETURN jack. We
suggest that when using the RECT-O’S power section only, that you have the amp switched to the Rhythm channels’ CLEAN Mode
or the Lead channels’ Vintage mode. This assures a more neutral power sensitivity thus making the RECT-O 50 more friendly to use
as a power amp. See PRESENCE control section of this manual for more information.

REVERB: RECT-O-VERB COMBO & RECT-O-VERB HEAD

These self explanatory controls deliver the rich natural reverb sound. Although the circuit is the same for both RHYTHM and LEAD
channels, the amount of Reverb available is not. In the LEAD channel there is slightly less Reverb available overall because of this
channels’ very nature. The reason behind this is two fold: 1.) that it is easier to prevent
the massive amount of Gain and signal strength present in the Modern high gain Mode
EFFECTS LOOP
from causing unwanted Reverb oscillations. 2.) This channels aggressive nature lends
itself more to musical styles where high settings of Reverb are simply not traditional.
1 Don’t worry...there is still plenty of Reverb for drenched solo work in both of the Lead
REVERB
10% 10 0% 2 Modes. Simply run the control a little higher than that of the top channel.
FX MIX RETURN SEND

CHANNEL SELECT:
This switch simply allows you to switch between the two channels (RHYTHM and LEAD) without using the Channel Select Footswitch
or, when one is not available. To use the footswitch however, the Channel Select switch must be in the (up)
SET TO RHYTHM RHYTHM position.
WHEN USING
FOOTSWITCH
RHYTHM

LEAD PAGE 9
 FACTORY SAMPLE SETTINGS
HEAD VERSION SHOWN

SAMPLE 1 Sparkling Clean

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD
MODERN

SAMPLE 2 Pushed Bluesy Rhythm / Solo: Both Channels

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD
MODERN

SAMPLE 3 Blues Lead: Both Channels

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD MODERN

SAMPLE 4 High Gain Lead / Crunch: Both Channels

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD
MODERN

PAGE 10
 FACTORY SAMPLE SETTINGS
COMBO VERSION SHOWN

SAMPLE 1 Sparkling Clean

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT OUTPUT

LEAD
MODERN

SAMPLE 2 Pushed Bluesy Rhythm / Solo: Both Channels

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
LEAD
MODERN

SAMPLE 3 Blues Lead: Both Channels

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
LEAD
MODERN

SAMPLE 4 High Gain Lead / Crunch: Both Channels

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
LEAD
MODERN

PAGE 11
 PERSONAL SETTINGS PAGE
HEAD VERSION SHOWN

SOUND 1

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD MODERN

SOUND 2

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD
MODERN

SOUND 3

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD
MODERN

SOUND 4

CLEAN
RHYTHM

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT
SOLO OUTPUT
LEAD
MODERN

PAGE 12
 PERSONAL SETTINGS PAGE
COMBO VERSION SHOWN

SOUND 1

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

SOUND 2

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

SOUND 3

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
LEAD
MODERN

SOUND 4

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

PAGE 13
 PERSONAL SETTINGS PAGE
COMBO VERSION SHOWN

SOUND 1

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

SOUND 2

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

SOUND 3

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
LEAD
MODERN

SOUND 4

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

PAGE 14
 PERSONAL SETTINGS PAGE
COMBO VERSION SHOWN

SOUND 1

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

SOUND 2

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

SOUND 3

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
LEAD
MODERN

SOUND 4

CLEAN
RHYTHM

PUSHED
GAIN TREBLE MID BASS PRESENCE MASTER
VINTAGE
INPUT
OUTPUT
MODERN LEAD

PAGE 15
 NOTE: POWER TUBES ARE HOT ! BEFORE CHANGING
RECT-O-VERB SOLO 50 TUBE TASK CHART TUBES TURN POWER SWITCH TO OFF AND LET COOL
OR USE A RAG FOR PROTECTION.
PARTIAL VIEW OF
12AX7 LARGE TRANSFORMER
V1 V2 V3 V4 V5
A B A B A B A B A B

PAGE 16
6L6 6L6
REAR OF CHASSIS
(HEAD VERSION)
Description of Tube Functions
V1A= Input Stage V4A= FX Send
V1B= 2nd Stage (Rhythm & Lead) V4B=FX Return
V2A=3rdStage Rhythm V5=A
Phase Inverter
V2B= 3rd Stage Lead V5=B
V3A= 4th Stage Lead
V3B= 5th Stage Lead
 TUBE NOISE & MICROPHONICS
You may occasionally experience some form of tube noise or microphonics. Certainly no cause for alarm, this quirky behavior comes
with the territory and the Tone. Much like changing a light bulb, you don’t need a technician to cure these types of minor user
serviceable annoyances and in fact, you’ll be amazed at how easy it is to cure tube problems...by simply swapping out a pre-amp or
power tube!

First may we suggest that you set the amplifier up on something so that you can get to the tubes comfortably without having to bend
down. It also helps to have adequate lighting as you will need to see the tube sockets clearly to swap tubes. Use caution and
common sense when touching the tubes after the amplifier has been on as they may be extremely hot! If they are hot and
you don’t want to wait for them to cool off, try grasping them with a rag and also note that the glass down around the
bulbous silvery tip is considerably less hot which makes it easier to handle. Gently rock the tube back and forth as you pull it
away from its socket.

DIAGNOSING POWER TUBE FAILURES:

There are two main types of tube faults: shorts and noise. Both large and small tubes may fall prey to either of these problems but
diagnosis and remedy is usually simple.

If a fuse blows, the problem is most likely a shorted power tube and shorts can either be mild or severe. In a mildly shorted t ube the
electron flow has overcome the control grid and excess current flows to the plate. You will usually hear the amp become distorted and
begin to hum slightly. If this occurs, quickly look at the power tubes as you switch the amp to STANDBY and try to identify one as
glowing red hot. It is likely that two of a pair will be glowing since the “shorted” tube will pull down the bias for its adjac ent mates, but
one tube may be glowing hotter — and that one is the culprit. The other two are often fine — unless they’ve been glowing bright red
for several minutes.

Because there is no physical short inside the tube (just electrons rioting out of control) merely switching to STANDBY for a few
moments then back to ON will usually cure the problem...at least temporarily. Watch the tubes carefully now. Should the problem
recur, the intermittent tube will visibly start to over heat before the others and thus it can be identified. It should be repl aced with one
from the same color batch, shown on its label. Call us and we will send one out to you. The severe short is not nearly so benign. In
the worst cases, a major arcing short occurs between the plate and the cathode with visible lightning inside the glass and a major
noise through the speaker. If this is seen to happen, IMMEDIATELY turn the amp to STANDBY. By this time the fuse probably will have
blown. Such a short is usually caused by a physical breakdown inside the tube including contaminate coming loose or physical
contact (or near contact) between the elements. Replace it and the fuse with the proper slo-blo type and power up the amp using the
power up procedure as we described earlier in this manual.

TUBE NOISE:

Often caused by contamination within in a tube, the culprit can usually be identified, and by lightly tapping on the glass, you will
probably hear the noise change. Hearing some noise through the speakers while tapping on the 12AX7’s is normal however. And the
one nearer the INPUT will always sound louder because its output is being further amplified by the second 12AX7.

The power tubes should be all but quiet when they are tapped. If crackling or hissing changes with the tapping, you have probably
found the problem. To confirm a noisy power tube, merely put the RECT-O on Standby, remove it from its socket and turn it back on.
It will cause no damage to run the RECT-O briefly with one power tube missing. You may notice a slight background hum, however,
as the push-pull becomes unbalanced. Whenever you are trying to diagnose a suspect tube, keep your other hand on the POWER
and STANDBY switches ready to shut them off instantly in the unlikely case you provoke a major short.
If you think you’ve located a problem tube but aren’t sure, we recommend substituting the suspect with a new one just to be sure of
your diagnoses. You will be doing yourself and us a big favor by just following the simple guidelines previously mentioned regarding
tube replacement. You’ll probably be successful with much less effort than is required to disconnect everything and haul the unit to a
technician who will basically perform the same simple tests. If the tubes are still within their six-month warranty period, we will happily
send you a replacement. Just note the color designation on the tube label so that we can send you the appropriate match.
PAGE 17
 DIAGNOSING POWER TUBE FAILURES:
Because your amplifier is an all tube design, it is quite possible that you will at some point experience minor pre-amp tube noise. Rest
assured - this is no cause for alarm and you can take care of the problem yourself in a matter of minutes by simply swapping tubes.

Let us begin by saying; It is a “very good” idea to keep at least a couple of spare pre-amp tubes on hand at all times to insure
uninterrupted performance. These minor pre-amp tube problems can take many forms but can generally be described in two
categories: Noise and Microphonics. Noise can be in the form of crackling, sputtering, white noise/hiss and/or hum. Microphonic
problems usually appear in the form of a ringing or high pitched squealing that gets worse as the gain or volume is increased thus are
more noticeable in the higher gain “HI” modes. Microphonic problems are easily identified because the problem is still present even
with the instruments’ volume off or unplugged altogether - unlike pick-up feedback which ceases as the instrument is turned down.
Microphonic noise is caused by mechanical vibration and shock: think of banging a microphone around and you’ll understand where
the word came from.

The best way to approach a pre-amp tube problem is to see if it occurs only in one specific mode or channel. Then refer to the TUBE
TASK CHART found on page 14 and it should lead you to the tube needing replacement. Then all that remains is to swap the suspect
tube for a known good performer.

If you cannot narrow down the trouble to a specific mode or channel, the problem may be the small tube that drives the power tubes
which is operational in all modes and channels. Though rare, a problem with the driver tube would show up in all aspects of perfor-
mance - so if you can’t narrow the problem down to being mode or channel specific, you may want to try replacing the driver tube.
Driver problems generally show themselves in the form of crackling or hum in all modes of performance and/or weak overall output
from the amplifier. Occasionally an anemic driver tube will cause the amplifier to sound flat and lifeless, but this is somewhat uncom-
mon, as worn power tubes are a more likely suspect for this type of problem.

Sometimes making the diagnosis is more trouble than it’s worth and it’s faster and easier to merely replace the small pre-amp tubes
ONE AT A TIME with a replacement known to be good. But MAKE SURE you keep returning the tubes to their original socket until you
hit the one that cures the problem. You’ll notice that tubes located nearer to the INPUT jack always sound noisier...but this is because
they are at the start of the chain and their noise gets amplified over and over by the tubes that follow. The tube that goes into this
“input socket” (usually labeled V1) needs to be the least noisy of the bunch. The tube that goes at the end of the preamp chain - just
ahead of the power tubes - can be quite noisy without causing any problem at all. The tubes in your amp have already been located
in the most appropriate sockets and this is why you should NEVER pull them all out at once and ALWAYS swap them one at a time.
ALWAYS return a perfectly good tube to its original socket. Also it’s a good idea to put the amp on STANDBY when swapping tubes to
reduce the heat build up in the tubes themselves and to prevent explosive noises (which can still occur even if you are pulling the
tubes away from their sockets gently) from coming through the speaker.

Remember, take your time, be patient and chances are real good that you can fix your amp yourself by finding and replacing the bad
tube. It kills us to see someone who has shipped their amp back to us...and all it needed was a simple tube replacement! If you must
send back your amp, unplug the power cord, speaker and reverb cables then remove the chassis from the cabinet by unscrewing the
four mounting bolts on top. The chassis then slides back like a drawer and comes out. Remove the big power tubes and mark them
according to their location from left to right 1, 2 etc. They need to be wrapped separately with plenty of wadded up newspaper around
them and put in a smaller box within the larger carton. To wrap the chassis, use plenty of tightly wadded up newspaper so there is at
least six inches of “crush space” between the chassis and the cardboard box. Bubble wrap also works well, but please DON’T use
styrene peanuts - they will shift during transit and get lodged inside your electronics as well as allowing your amp to end up at the
bottom of the box unprotected and possibly damaged. Pre-amp tubes don’t normally wear out as a rule. Therefore, it is not a good
idea to change them just for the sake of changing them. If there isn’t a problem - don’t fix it. If there is no result from your substitutions,
it may be possible that you have more than one problematic tube. Though rare, this does happen and though it makes the trouble-
shooting process a little more intimidating, it is still possible to cure the problem yourself.

NOTE: It is normal to hear a slight metallic ringing sound when tapping on the preamp tubes. As long as the tube does not break into
oscillation or start crackling or any other form of bizzare noise, it is considered normal and functional.

PAGE 18
 DIAGNOSING PRE-AMP TUBE PROBLEMS:

BEAM-
NOTE: An article written by Randall Smith that CONFINING
we thought you might find interesting. ELECTRODE ( )
CATHODE ( )
GRID ( , )
...
SCREEN ....
Here’s a question we often hear: GRID ( ) ...
. PLATE
.
... ( , )
.
....
“Why doesn’t Mesa put bias adjustments
in their amplifiers?”

Well, there’s a short answer and a long answer to this question. Structure of a 6L6 / 5881
Beam Power Pentode.

The short answer is that during my 12 years of repairing Fenders, one of the most frequent problems I saw was bias controls that were
either set wrong or that had wandered out of adjustment due to vibration. As any honest tech will tell you, there’s lot’s of easy money
to be made by sprinkling “holy water” on amplifiers ... uh, what I meant to say is “Your amp needed biasing.” See what I mean? What
customer is going to argue with that?

It only takes a moment and a volt meter: The Fender diagram shows how: “Adjust this trim pot for - 52 volts.” That’s it. Nothing more.

Now don’t be fooled into thinking that tubes “draw” more or less bias, they don’t. The way a bias supply is connected to a tube is akin
to a dead end road, it just trails off to nowhere without really completing a circuit. It’s a static voltage and regardless of what tube is in
the socket — or even if the tubes aren’t plugged in at all, it doesn’t change the bias voltage a bit.

So the end of the short answer is this: Since a bias supply needs to put out the right voltage and never vary, I wanted to build
amplifiers that were individually hard wired to the correct values and NEVER needed adjustment. And for 25 years, that’s how Mesa/
Boogies have been built. Time to change tubes? Just plug our tubes into any one of our amps and you’re DONE. No tech needed.
NO bills and no BS about biasing. And most important: The bias is RIGHT because it can’t change!

Now, you want the long answer? Here’s more information on how our hard-wired bias avoids trouble. Please read on.

But first, let’s make an important distinction. Our business is designing and building high performance amplifiers. And for this we need
tubes whose variance is within a narrow range. Our warehouse is full of rejects ...oh, they work — they just don’t perform within our
tolerance range. We have a very sophisticated computer - based tube testing system (nicknamed “Robotube”) that matches and
measures tubes over seven important parameters. It can even predict which tubes are likely to have a shortened lifetime — even
though they work perfectly during the test.

Because our business is building quality amps, we can afford to reject a lot of wayward tubes. The guys you hear complaining
because Boogies don’t have bias adjusters are primarily in the business of selling tubes - not amps. They don’t want to throw away 30
percent of their inventory, so they promote the idea that tubes outside our parameters can be used to “customize” amplifiers and they
criticize us because our amps can’t be adjusted to accommodate their out-of-Mesa tolerance tubes.

Now you might be thinking, “But I thought you just said that tubes don’t “draw” bias, therefore they don’t effect the bias supply and thus
it doesn’t need to be adjustable.”

And that’s right. Tubes don’t effect the bias setting, but the bias setting does effect how the tubes work. But HOW it effects the tubes
is difficult to measure.

When you set the bias (whether it’s by selecting the right resistors, as we do, or adjusting a trimmer — which is quicker) what you are
doing is establishing the correct amount of idle CURRENT that flows through the power tubes. But you can’t adjust the current
directly, you can only change it by adjusting the amount of bias VOLTAGE that goes onto the tubes’ control grids.

PAGE 19
 BIAS ADJUSTMENT (Continued)
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 carpetted floor 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
current (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 amplifier, you are adjusting the static VOLTAGE at the control grid of the tube in order to produce a
desired amount of idle CURRENT flowing to the tube’s plate. A small change in grid voltage, produces a large change in the amount
of current flowing — 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 flowing to the plate. See, that’s the essence of amplification: 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 flows through the big power tubes when you’re not playing. And what
drives your speakers is flucuations in that current flow when are ARE playing. If the amount of current increases and decreases 440
times per second, then you’ll hear an A note. If the fluctions in current flow 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” flowing with no signal applied that’s important. Unfortunately current is
hard to measure because the circuit must be interuppted — 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
PARALLEL 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 flow 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 flow has been
reached. This is an improvement, and almost worthy if you’re willing to except resistors and lights added into your amplifier’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 flows through each one.

Again, this has some merit .. but it’s still not as good as using tubes that are matched in the first place because compensating for the
mis-match causes the push-pull circuit itself to become unbalanced. Two wrongs don’t really make a right.
PAGE 20
 BIAS ADJUSTMENT (Continued)
Some of the other recommended biasing, “methods” — such as -”.. tubes running red hot, increase the bias .. sounds harsh and runs
too cool, turn it down ...” are guesswork at best. Luckily, one of the great things about tube amps is that they can usually stand some
abuse without causing any real harm ... at least not immediately.

But don’t these alterations imply that you are second-guessing the amp designer and that there’s a better set of operating conditions
that the designer missed but the tube sellers have discovered?

Now some players may like the sound of their amp altered by tubes with extreme characteristics and with the bias set to help
compensate. But often it is the mere novelty of change that they’re really responding to and when the amp goes back to the proper
original way, we’ve seen them be far happier still!

Because every part in every one of our designs has been meticulously evaluated, compared and stressed over — no matter how
seemingly insignificant it might be. And with every design we look for a “sweet spot” where all the parameters — including the bias —
come together to give the best sonic performance, consistently and reliably. Every part and voltage is important — yet no one
complains that these other parameters aren’t available for tinkering.

Consider our patented Simul-Class circuitry where there are two different bias voltages used for separate pairs of power tubes ... and
changing one voltage also changes the other. Great care goes into getting this just right and we think we’d be asking for trouble to
have it adjustable for the world to play with ... unless you like paying to have your amp messed up. Sorry, I meant to say, “Uh, ... your
amp needed biasing.”

If that doesn’t appeal to you, then merely plug a matched set of Mesa tubes into one of our amps and you’re ready for tone. Guaran-
teed. You’d be amazed at the number of service calls we field every day that lead to a diagnosis of out-of-tolerance, non-spec tube
problems. To think these would be prevented by including a bias adjustment is something of an insult to you and us. If you put the
wrong size tires on your car, do you think changing the pressure will make them right?

Please, don’t think this is a blanket indictment of the other guys selling tubes — it isn’t. And their tubes aren’t all bad either. It just
doesn’t make sense to pay more of your hard earned cash for tubes that were probably made in the same Russian or Chinese factory
and which have the possibility of being outside the performance window we select for your amp. And it pains us to hear the hype and
mystique built up around biasing when twenty-five years of evidence affirms our decision to make bias circuits that “never need
adjustment”. How much money and trouble that has saved Mesa/Boogie players you couldn’t estimate.

Our rigorously tested and hand selected tubes are available at your nearest Mesa/Boogie Pro Center or from us directly. Nobody
offers better price, quality or warranty than we do ... so why swerve?

Next time we’ll talk about our part in developing the great Sylvania STR 415 type 6 6 and how we’re on the verge of seeing something
fairly close reappear on the market. Remember, we still have some of these super rugged mondo-bottles available for older amps —
Boogies only please! Until then, Relax, Breathe and Nourish your soul!

Cheers!
Mesa/Boogie Ltd.

Randall Smith
Designer & President

PAGE 21
 FRONT VIEW HEAD VERSION: CONTROL CONTROL CONTROL
pt # 592738 pt # 592148 pt # 592148
BOTH SWITCHES CONTROL CONTROL CONTROL JACK
LIGHT RECEPTACLE CONTROL
pt # 601073 pt # 592737 pt # 592378 pt # 592792 pt # 610120
pt # 703822 pt # 592148
RHYTHM CLEAN

ON ON

PUSHED
MASTER PRESENCE BASS MID TREBLE GAIN
VINTAGE
FT.SW INPUT

POWER STANDBY SOLO OUTPUT

LEAD MODERN

LIGHT BULB CONTROL

CONTROL
pt # 703047 KNOBS pt # 592794
RED LENS pt # 592739 JACK
pt # 703782 pt # 408110 CONTROL pt # 610123
CONTROL
pt # 592738
SWITCHES pt # 592150
pt # 607101 CONTROL CONTROL SWITCHES
pt # 592739 pt # 592737 pt # 607101
1

PAGE 22
REVERB
2

ALL CONTROL KNOBS

CONTROLS Pt # 408110
pt # 591050

RECT-O-VERB and
COMBO 50 ONLY JACKS ALL 3 JACKS
FUSE
pt # 610111 pt # 618100
pt # 790347
REAR VIEW HEAD VERSION:

WARNING:
Unplug power
SET TO RHYTHM before replacing
fuse or removing
WHEN USING EFFECTS LOOP SPEAKERS bolts mounting
FOOTSWITCH SLAVE chassis.

RHYTHM FUSE
FUSE

10% 10 0% POWER FUSE

OUT
WARNING: To reduce risk of fire or FX MIX RETURN SEND 120 V~ 2.5 A
electric shock, replace fuse with
CAUTION: To reduce risk of fire or electric
shock, do not remove cover. No user- 8 OHM 4 OHM 4 OHM
same type and rating only. Do not serviceable parts inside. Refer 50-60 Hz SLO
LEAD expose this unit to rain or moisture. servicing to qualified personnel. 2.5 A BLO

JACK AC RECEPTACLE
SWITCH CONTROL pt # 613713
pt # 618100
pt # 602112 pt # 592736
 MESA BOOGIE
The Spirit of Art in Technology

Thank you for trusting MESA/Boogie to be your amplifier

company. We wish you many years of toneful enjoyment from this
handbuilt all tube instrument.
 The Spirit of Art in Technology

1317 Ross Street Petaluma, CA 94954

USA
Phone: (707) 778-6565 FAX: (707) 765-1503