A page dedicated to the tone and creativity of MESA Engineering's famous Mark Series.  These little giant killers, first introduced in the early seventies, have been the choice of most major top players.  Made famous by Santana and boosted by The Rolling Stones, The Who and The Grateful Dead, very few if any stadiums, coliseums or concert halls haven't been assaulted by a Boogie.  Currently the state of the art is the Mark IV which represents the culmination of 30 years of evolution and refinement.

One of the most legendary amplifiers in the Mark series evolution, the IIC+ has one of the finest clean and lead tones available and has become one of the most collectable of the Mark Amps.  Roughly 1499 original Mark IIC+ amps were made between 1983 and 1985. MESA has always stated that the start of the Mark IIC/C+ transition was 12,500, and production stopped at 14,999.

There were also about 20 or so Mark IIB amps that were returned to the factory for a complete circuit board swap to upgrade them to Mark IIC+ status. These amps came with a certificate/letter proving that this alteration had been performed. In addition to this, there were several Mark IIC amps over the years have been returned to MESA to be modified to a IIC+. This modification is still being performed at MESA whereas the IIB to IIC+ has not been available for over a decade. With time, they have continued to appreciate in value. Mesa/Boogie has said that they can upgrade any Mark IIC to a IIC+ specs for about $250, but it has also been stated that a mod to a "+" can change an amps' tone - I don't know how different the sound is between a Mark IIC and a Mark IIC+.  Others have stated that the Mark IIC lead sound is "harsh" while the IIC+ is "smooth." Mike Bendinelli, head tech at Mesa/Boogie, feels that the IIC+ is a huge improvement over the IIC, which he calls a "C minus" and feels that a Mark IIC to IIC+ done by him is no different than an original IIC+. This makes perfect sense as I have had the opportunity of watching him work on my IIC+ and he knows these things like the back of his hand and afterall, he built part or all of most of the Mark IIA to Mark IV amps.  From what I saw and heard, i would suggest that everyone do the upgrade.  There is no reason for a single IIC to exist!  I mean hey, Keith Richards had his IIC done and is was the first IIC to roll off the line.

With this rise in value, the question of authenticity becomes an issue. In 2001, a IIC+ combo, with all options save for hardwood could be purchased for $800.00 to $1200.00 USD. Currently, these amps are being put up for sale with asking prices of $2000.00 to $2800.00. So the issue remains, assuming one is ready to cough up this much money for an amp (I would consider the IIB the buy of the century or buy a IIC and have Mike turn it into a IIC+), how does one make sure that one is buying an authentic Mark IIC+? 

Well the best place to start is the beginning. To be able to decide on what you are actually looking at, a full understanding of the models that lead to the Mark IIC+ is essential.

Princeton Boogie

The first Boogie was the so-called Fender Princeton Boost. These came into existence in 1969-1970. There is purported to be about 300 or so of these. These were stock 1x10 combos that were totally stripped down and rebuilt around a Bassman circuit with a 12" speaker. The effect was impressive.

With time however, Randall Smith realized that this was a very inefficient way to make amps, and Fender had caught on by then anyhow. Thus the birth of the first true Mark I MESA/Boogie.

Mark I

These amps were made completely from scratch. Randall and his first wife Rayven, with help from drop-in friends made every component. The circuit boards were acid etched in the basement, using a Leslie speaker motor to agitate the bath. The faceplates and the logos were hand sprayed acrylic with a sealant. On some the back was labeled with adhesive dymo labels. The first 12 built were actually housed in cabinets with Snakeskin covering. These first amps were for Santana and Neil Young. This may run counter to the thought that the first Boogie was a hardwood, and the first hardwood a Boogie. Well for sure the first hardwood was a Boogie, and if the information is correct, the first were made for Neil and were hardwoods, but who knows for sure.  After these first twelve, the amps were available in tolex and hardwoods in both the head and combo versions.

Production rose as the demand skyrocketed with the landmark review of this amp was posted by the Alembic Report in 1975. With time, the process was streamlined, and after a very close call with Rayven's eyesight (acid from the circuit board process was splashed in her eye), it was decided to part out the fabrication of certain components. Hence in about 1976 the appearance of the brushed aluminum faceplates and logo with no "R" on it made their appearance. At this point, about 750 or so amps had been made when the switch to the new faceplates took place. Another 2300 odd Boogies were made after this point until the introduction of the Mark II in 1979.  Mike B. joined MESA around this time, so he made some of the last Mark I's and all the Mark II, IIA, IIB, IIC, III and early Mark IV amps. 

There were several folios in the second generation Boogie.

Mark IIA

The Mark II introduced channel foot switching, so you could go from rhythm to lead. The reverb circuit is considered noisy and the foot switching made a popping sound when used; both of these features were later improved on in the IIB and IIC.  The pre amp gain on the Mark IIs occurs after the tone controls, unlike the Mark I. A landmark review of this amp was posted in the German literature, namely the Fachblatt Test.

The IIA and IIB, and some late-model Mark I amps used a silicon device called "fetron" in place of one of the 12AX7 pre-amp tubes, and included a switch for configuring the amp for either fetron or 12AX7 operation.  The reason for using a fetron was to address some of the problems associated with microphonic 12AX7 tubes in a high-gain situation; somehow, Boogie users didn't care too much for the fetron, so its use was later discontinued.

On the rear, the Mark IIA, unlike the Mark IIB, had the junction to the Pre-Amp/Pwr Amp above the Slave Out jack, like the late Mark I amps. There was no true effects loop however there was another jack on the bottom that served as a junction between the Pre-Amp/Pwr Amp so that one could put an effect in between these two stages.

Mark IIB

It was the second folio of footswitch lead and rhythm modes between the huge warm clean tone and the famous Boogie lead tone that in the Mark I was obtained via separate inputs.  Early problems in the Mark II were addressed in the IIB, namely less popping in the footswitch, less reverb noise and the Mark IIB introduced the first true effects loop and a control panel, featuring both a lead drive and a lead master dial.  It also marked the introduction of Mesa's "simul-class" system, where two of the power tubes (always 6L6s) run in class AB pentode while the other two tubes (either 6L6s or EL34s) run in class A triode.  If you have a simul-class amp, running all four tubes generates approximately 85 watts RMS of power, while running only the class A tubes produces about 15 watts.  You could also get a non-simul-class Mark IIB in a 100 watt model, which allowed to shift down to 60 watts by turning off a pair of power tubes.  No matter what the combination is the result is very loud.  A well know "problem" is that they produce what seems ridiculous amounts of volume.  So much so that in the Mark I re-issue, there is now a variac switch to produce a "brown-out" to obtain a lower output volume.

The two input jacks on the front panel are marked "Input" and "Foot Switch." The front panels read Volume 1, Treble, Bass, Middle, Master, Lead Drive and Master 1. It has "Pull Bright" on the Volume, "Pull Shift" on the Treble, and "Pull Bright" on the Master.

With the Mark IIB, unlike the Mark IIA, it had the junction to the Pre-Amp/Pwr Amp only on the underside of the amp. The rear panel now had a true effects send and return. next to the Slave Out jack.  The IIB however had well known "issues" with this effects loop.  It tended to overdrive effects when switching into lead mode, and the reverb level in lead mode was markedly decreased.  Mike B. and Randy came up with a fix wich lead to the effects loop mod for the IIB.  It added a fourth master that allowed the effects and reverb levels to be properly balanced.  However, it does change the lead sound.  The mod gave the IIB a more IIC+ lead tone which is great, but very different from the IIB sound which had a compressed, less gain sound as a result of the "bottle neck" between the pre-amp and the power amp section.  I have two amps without the mod and one with it.  I love th IIB sound.

Mark IIC & IIC+

The Mark IIC+ was the last of the Mark II series and featured a more sensitive (i.e. useful) lead channel and, more importantly, an improved circuitry in the effects loop.  Unlike earlier Mark II models, pedals could be used without the amp's signal overloading their inputs. You can tell if a particular amp is a "+" by looking for a hand-written black "+" mark directly above where the power cord attaches to the back of the amp.  Be aware that many people are want to jack up the price on a Mark IIC+ but often don't know anything about what the "+" means . Indeed, the mark itself can be forged, so let the buyer beware.  But, you can figure out if it is a true IIC+.

Knobs

The knobs on the Mark I through to the Mark IIB are the silver center ones similar to Fender amps. With the introduction of the Mark IIC MESA switched to the all plastic knobs with the flat tops, with white inlaid numbers, used in the Mark IIC, IIC+ and the Mark III up to the '90's. The knobs remained the same shape and color, except in the '90's the numbers were not inlaid and were of a cream color.

Front Panel

On the Mark IIB there was no Pull shift on the Bass, whereas the IIC and IIC+ had this feature. Both the IIB and the IIC had Pull Gain Boost with the Master 1 Volume, the IIC+ (save for the first few or IIC's that had been modified to IIC+) had Pull Deep function with Master 1.

IIC+ Tone Controls: The two input jacks on the front panel are marked Input" and "Foot Switch.  The lead/rhythm footswitch plugs in and has a red LED to indicate function in the rhythm mode.  The front panels read Volume 1, Treble, Bass, Middle, Master 1, Lead Drive and Lead Master. It has "Pull-Bright" on Volume 1, "Pull-Shift" on the Treble, "Pull-Deep" on the Master 1 and "Pull-Bright" on the Lead Master

Date of Manufacture

Like all Mark amps, the Mark IIC+ amps have the date of manufacture written on the bottom of the amp. For a IIC+ this should be very late 1983 to all of 1984, and very early 1985.

Markings

A true Mark IIC+ will have a "+" over the power cord and Mike Bendinelli's initials on the back below the cord and on the bottom of the amp. As well, on the side of the amp chassis will be the MESA amp code DRG. As well, the date of the amp's manufacture will be written on the bottom.

Serial Number

To further validate the IIC+ claim, look for the serial number. It should be between 125XX and 14XXX, but there is variability with the low end of this range as the exact start of the IIC+ and end of the IIC was in the 12,3XX range.

Mark IIC+ Effects Loop

To have the definitive proof that an amp is in fact a IIC+ claim, one must first ascertain the above, but to prove beyond a doubt, there is a simple effects loop play test.

1) Plug your guitar into the fx return with the amp in LEAD mode.

2) Play a chord and let it ring out.

3) While it is ringing out, adjust the lead drive pot.

If there is a change in sound as you adjust that lead drive control - it is NOT a C+, it must be a Mark IIC. Reason is because the lead voice was placed entirely in the pre amp section in the C+ whereas the original C had some shaping after the pre amp which is why that lead drive would effect the sound when you plug your guitar into the fx return (bypassing the pre amp section).