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 & 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.
In the anthropology of amplifiers, the Mark I was the missing link, the transitional brainchild which bridged the Vintage and Modern eras. In truth, the Mark I is actually both: Plugging into Input 2 reveals a big, clean, shimmering rhythm sound. Up until then, this is simply all that amps could do. Chronologically this was the BG era of guitar amplification. Before Gain. But recognizing the guitar's latent potential as a solo instrument, the Mark I unearthed High Gain. Here for the first time was solo enhancement from the amplifier producing a Lead Voice of singing sustain for guitar. This replaced the saxophone as the lead instrument for rock, and signified Day One of the new AD calendar (After Distortion).
Carlos Santana, Larry Carlton, Robben Ford, Eric Johnson, Keith Richards and Pete Townshend all helped catapult the new sound into the international spotlight. Despite a flood of orders and relentless offers to buy the company, MESA Engineering refused to sell out, and chose instead to remain true to its founding principles: quality without compromise and guaranteed customer satisfaction. From the garage shop at home in Lagunitas, amps were built and shipped to 40 countries worldwide.
The Mark I refers to the first Boogies ever made - although they were not called "Mark I" until the Mark II came along. Actually they were originally Princeton Boogies, as they were hot rodded Fender Princeton Amps made by Randall Smith out of Prune Music in San Francisco where he was working as an amp tech. What started out as an exercise changed the tone of the world forever. These Mark I's were 100 or 60 watts combo amps with a 12-inch speaker, primarily Altec-Lansing or EVM (see later). The Mark I had two channels: one clean, voiced somewhat similar to old Fender, called "Input 2," and one "high gain," called "Input 1," which produced the overdriven "Boogie lead" sound used most notably by Carlos Santana on the "Abraxas" album and after. The name originated from the fact that all who played it had similar sentiments, namely "man that little thing really Boogies!"
This amp in its original form is very collectable, but does not have footswitching capabilities - you plug in one or the other input for the two tones. One can use an A/B switch, but the Volume jump from Input 2 to Input 1 is considerable. Reverb was optional and a lot of early Boogies didn't have reverb. Later, you could get a Mark I with reverb and/or graphic EQ. Early models have "slave out" and "reverb" labeled on the back with Dymo stick; they do not have any "pull lead" capabilities on the volume controls. 1976 and later Mark I's had "Pull Bright" and "Pull Boost" on the volume controls. The front panel controls were Volume 1, Volume 2, Treble, Middle, Bass and Master. The Boost and EQ can be controlled with a remote dual footswitch in later models (1976 and on).
The early models are fairly inconsistent, since many of them were "custom" models, made-to-order for various buyers. Some sound cleaner, some don't.
Boogie has reissued the Mark I with some subtle differences - check their catalog on line at www.mesaboogie.com. Another good source of information to puruse is the on-line archives of Boogie Manuals. MESA/Boogie has stated that both the original and the reissue have a "looser" lead sound since the first two preamp stages occurs before the tone controls. In the various later Mark II and III models, there is only one gain stage before the tone controls. This signal chain is an issue of some dispute among Boogie owners. Original Mark I's are hard to find and expensive (and often modified if you do find one), but very collectable. Often the seller doesn't realize the piece of history in his possesion. While the Mark I tend to vary in sound quality, the Mark I reissue is very consistent from amp to amp.
The Alembic Report was a turning point in the history of MESA/Boogie. After its apprearence in 1975, MESA was flooded with orders and eventually moved from the Smith's house in Lagunitas to Petaluma to deal with the flood of interest and to have a more secure place to create the amps. theft was a big problem, as well as the appearence of "fake" Boogies made in Japan by Meisa Engineering!!
An actual order/feature listing and letter from Randall and his wife Rayven show how hands on the were when the Boogies were being made in their home in Lagunitas. This letter came with a 1976 Mark I. It had been reproduced word for word from the original. Note the waiting time listed on the bottom of the letter!
This particular amp was hand made and signed by Randall Smith in July of 1977. It has the dymo label serial number and matching stamp in the cleat of the cabinet. It has all options save for a hardwood cabinet which is very unique. It is a later version of the Mark I with Gain Boost and Pull Bright. This combo came loaded with the Altec-Lansing speaker that was the choice of the Rolling Stones, namely the 417-8H Series II. Early speaker options for Mark I's was this speaker,, Vega, Emminence, the EVM 12L and the JBL speaker. MESA used the JBL D-120, K-120 and finally the E-120 for a brief period of time. I am told that by the release of the first Mark II's, MESA had abandoned JBL's. A MESA tech says they may be good for cleans, but were left behind because they were harsh, bright and brittle for lead sounds. Interesting to see how the speaker choices have evolved. The Altec is a fantastic speaker and still used by Santana and The Stones. The EVM 12L is the more crisp of the two and also an excellent choice.
The Controls - A brief look at all the knobs and the interaction of each with suggested settings.
FRONT PANEL
Inputs 1 and 2 - Volume 1 - Pull Gain Boost Volume 2 - Pull Bright
These are the instrument Input Jacks for the MARK I and their respective Volume controls. They are not designed for use with two instruments, but rather to access two very different gain stages.
INPUT 2: is a relatively "normal" preamp channel with qualities reminiscent of early Fender "black face" amps. At low settings a very clean sound results, with emphasis on the shimmering "bell like" highs so essential to a great rhythm sound. As the VOLUME 2 level is increased, the highs give way to midrange warmth, and a fatter, richer tone is achieved. At "10" some "overdrive" is possible, so this channel can also be used for a traditional blues sound. with the Gain Boost pulled a "second" mode is created that has gain, but is quite bass rich.
INPUT 1: is much hotter and is wired in series with INPUT 2. Voiced with a darker and fatter sound, INPUT 1 produces single note sounds that are smooth and singing- including the soulful Boogie lead sound so many players have found unsurpassed through the years.
VOLUME 1 can be dialed from a low gain blues sound - wailing and pure, through medium gain fusion sounds - articulate and singing; all the way to very high gain metal type sounds. At very high settings, VOLUME 1 is lethal and shredding, yet with a liquid feel that begs for hammering or two-handed fingering styles. Since the two inputs are in series, many different sounds are available by varying the settings of the two gain controls for channel 1 (i.e. VOLUME 1 set high, VOLUME 2 set fairly low or vice versa). The most popular way to set the gains for a lead sound in INPUT 1 is to set VOLUME 2 to about 7 or 8 and increase the VOLUME 1 control to suit your taste and style. By setting VOLUME 2 in this range, you have given the second stage of the pre-amp enough gain to ensure smooth, even saturation - which in turn produces a rich vocal quality in the note played. Of course, MESA encourages you to experiment with both controls to find your own personal sound.
Though the MARK I is not a "footswitching" amp in the true sense of the word, it is a two channel amp and therefore it is possible to switch between INPUT 1 and INPUT 2 externally. This is accomplished by using the accessory MESA A/B FOOTSWITCH, and two very low capacitance shielded cables of the shortest possible length (6 feet or less). Connect your instrument to the Common Jack of the A/B box. Then connect cables from the box's "A" and "B" outputs to the two inputs of the MARK I and you can now footswitch between the two inputs. You will notice a compromise in volume levels is inevitable and necessary. Most probably when you set the INPUT 2 volume control to the right spot, Input 1 will be too loud. This is unavoidable because the channels are in series. With some time and guitar volume control changes you should be able to come up with a compromise setting that will "footswitch". Again, this amp was not meant to footswitch, so don't be surprised when you hit the switch to go to channel 1 and the band jumps from the volume difference. The settings listed below offer a workable compromise for both inputs.
VOLUME 1 (4) VOLUME 2 (8) MASTER (2-3) TREBLE (7) BASS (3) MIDDLE (5)
At this setting channel 1 will still be substantially louder than channel 2, and you will probably have to back down the guitar's Volume control slightly to about 7 or 8 to be clean in channel 2. The more popular way to use the MARK I, especially for blues and R&B situations, is to use INPUT I only. This would be for the player who does not want to deal with footswitching, or simply prefers to back the guitar down for a clean sound. Obviously, this will not be the sparkling, "squeaky-clean" rhythm sound that is available in INPUT 2. Many players, however, prefer this approach, finding it easier, more expressive, and certainly more traditional.
MASTER: The Master controls the overall volume output of the amp and when a Mark I is slaved via the Pre-amp/Amp junction it is the sole volume control as the pre-amp is bypassed. It is usually set around 1 to 2.
TREBLE: This control varies the amount of treble frequency in the pre-amp. The first in the series of tone controls, it is the most powerful of the three because its setting determines the amount of signal fed to the BASS and MIDDLE controls. High settings of the TREBLE control will greatly diminish the effectiveness of the BASS and MIDDLE, causing them to have very little effect on the sound. Low settings of the TREBLE will increase the strength of the BASS and MIDDLE, making those the dominant tone controls. In addition, when using overdrive sounds in either channel, the TREBLE control tends to behave like a subtle gain control. At high settings it increases gain as well as adding top end. If you find this gain effect desirable but don't wish to increase the top end, simply compensate by reducing the PRESENCE control located on the rear of the chassis. This will reduce brightness without sacrificing gain.
BASS: This control determines the amount of low end present in the sound. Unlike most amplifiers, the BASS control on the MARK I is extremely powerful. Although it is fed by the TREBLE control and is subject to its setting, the BASS control is less sensitive to the TREBLE than in other amplifiers. Amazing amounts of rich, fat bottom end can be obtained, making clean sounds very warm and breathy. Because the BASS control is so active, especially when in channel 1 with the VOLUME 1 and VOLUME 2 set high, it should be used sparingly. Too much low end with these settings can produce a flabby sound that is very unfocused revealing too much of the guitar pick's attack.
MIDDLE: This is the least significant of the three tone controls. Like the BASS, its strength is also dependent on the TREBLE setting. It is very useful for smoothing out single note lead sounds, making them less "buzzy" and more focused. Clean sounds need midrange for punch and attack to produce a bigger, bolder sound. An interesting sound in channel 1 for lead playing is achieved by turning the TREBLE and BASS controls to 0, and the MIDDLE control to 10. This will reveal the frequencies that this control works with, as well as producing a fat, warm and very smooth tone. NOTE: With all three tone controls set to 0, the amplifier will not produce any sound. At least one tone control must be set above 0 to produce sound.
Graphic Equalizer: This optional feature is lots of fun to use and it certainly does expand the Boogie's tonal flexibility. Although there are a thousand different ways to set the Graphic, the single most useful is "the classic V" because that's what it looks like. Move the first and last sliders about three-forths of the way up. Move the second and forth sliders two-thirds of the way up. Move the center slider about three quarters of the way down, then fine tune your sound using just this center slider. You'll hear how a slight adjustment at the 750 hz position makes a dramatic difference in the sound, whether you're playing with moderate distortion, heavy distortion or perfectly clean. This setting makes the amp seem even bigger, bolder, stronger and fatter.
EQ Switching: The Boogie also offers great flexibility for switching-in the Graphic Equalizer. The front panel toggle switch offers two choices: EQ OUT, and EQ IN (all the time). A final switching choice is to use the optional EQ Footswitch which plugs into the underneath of the chassis via a stereo cable. With it and a dual footswitch, you can click the EQ on or off at any time.
Standby Switch: This switch turns off the high voltages in your BOOGIE, while allowing it to idle, keeping the tube filaments warm. It should be used during "power up" to keep from "shocking" cold power tubes. Simply turn on the POWER switch while leaving the STANDBY SWITCH "down" (standby position) for about a minute. This reduces the strain on your power tubes and prolongs their life substantially. Standby mode should also be used during breaks in playing, as it produces less strain on tubes if they are kept warm, rather than turned completely on and off with every use.
Power Switch: Controls the AC for the whole amplifier except for the AC utility outlet on the back, which remains unswitched. Proper power up involves having the amp in standby mode and turning on the AC. After 30 seconds or so, turn the standby to on. This sequence prevents a high voltage surge from hitting the cold tubes, reduces strain on capcitors and electronics and prolongs tube life.
The Controls REAR PANEL
From right to left, standard features abound. The 12 foot grounded cord is next to an un-swithced AC three pin utility outlet, Slo-Blow fuse and ground switch. Next is the Slave Out and Level Control, Pre amp/Amp Junction outlet, Prescence, Reverb, Speaker Outputs 8, 4, & 4 Ohm , and Heat Sink. Underneath on the chasis undersurface is the outlet for the Gain Boost/E.Q. dual footswitch.
AC Outet: Utility outlet that remains on despite position of AC switch. This is very useful on stage. When linking Boogies, it is best to use isolated AC sources as one can run into the radio phenomonon where the amps act as radio receivers picking up FM! Make sure that you use high quality coaxial cables. The amps are very high gain and can pick up all sorts of radio frequency (RF), but NEVER let any amp head try to cure your amp of RF. All Boogies are clean of this, but if you combine them in certain configurations and use cheap cables, some RF will result. RF is staus quo in lesser amps, especially Fender, don't let someone sell you a line of crap that your Boogie is like all amps and needs "holy water" to cure it!
Slo-Blo Fuse: Generally never an issue unless there is a bad power tube. If it goes, replace the power tubes and the fuse to prevent further blowouts. A good idea to keep a couple of spares along with your pre-amp tube spares.
Ground Switch: A three position switch with the center position being off, A to left, B to right. Useful in reducing buzzes that originate from AC power wiring outside the amp. Best to leave in center off position unless either A or B helps. When in the center, the Boogie cannot be the source of ground shocks to micrphones.
Slave Out & Level: Provides a direct output feed the faithfully captures the preamp and amp sound. The level allows one to ensure the adequate signal strength. This output is useful when slaving to another Boogie's Preamp out/Power Amp in, or to a mixing board. Start with the level off and increase as needed. Higher Slave settings with lower Master result in less overall line noise.
Preamp/Amp Juntion: Located just above the right slave out, provides a juntion out of the preamp/Graphic EQ. signal to slave other Boogies or as a signal in to use the Boogie as a Power Amp only. When doing this, only the Master functions and it is suggested all other pots are turned to zero. Best way to link the Slave Out or Effects Send of one Boogie to another for a Power Amp effect.
Speaker Outputs: Three outputs are available for different configurations and if so desired, speaker mismatches. No harm can come to the Boogie or the speaker, save that a mismatch in the wrong direction, ( 8 Ohm with 60 Watt or Class A) will cause the powertubes to run down faster. EVM and Altec speakers are able to handle the 100 Watts and 8 Ohm. For other speakers, MESA suggests 60 Watt and 4 Ohm. Lower power setting with the 4 Ohm jack give a mellow sound with distortion at a lower volume. 8 Ohm adds more clarity and crispness, and 100 Watt adds even more volume.
60/100 Switch: This switch sets the power output level of the MARK I. With the toggle switch up (100 watt position), the amplifier will produce 100 watts RMS of clean power. To achieve full power in the 100 watt position, the speaker should be connected to the 8 OHM SPEAKER JACK located on the rear of the amplifier. With the toggle switch down (60 watt position), the two middle power tubes are in a "standby mode", thus reducing the overall power to 60 watts RMS. To achieve full efficiency in this position, the speaker should be connected to either of the 4 OHM SPEAKER JACKS. Note that power and tone differences can be achieved through matching or mismatching speaker impedances. This can not hurt your amplifier and is an interesting experiment that we encourage you to try. For example: with the 60/100 SWITCH up (100 watt position) and the speaker connected to the 8 OHM SPEAKER JACK, the amplifier will sound very bold and punchy (Perfect for loud clean playing, or cutting through a loud stage mix.) Some players, however, find this sound and feel too stiff and revealing of mistakes. If you encounter this, no problem, simply connect the speaker to the 4 OHM SPEAKER JACK and you have reduced your overall power to about 75 watts, while softening the sound and feel substantially. By using the 60 Watt position (toggle switch down) with the speaker connected to the 8 OHM SPEAKER JACK, a different sound and feel can be achieved. Somewhat less "mid-rangey" and more hollow sounding, this setup works whenever a clean sound is desired that has a little different personality. Keep in mind that this mismatch (60 Watt position- 8 OHM SPEAKER JACK) is a mismatch in the lower than proper match direction. This causes the 6L6 power tubes to wear faster, and produces a much "harder" clip. Again, you are encouraged to experiment and find the tonality that suits you best.
Gain Boost/E.Q. Dual Footswitch: Located on the undersurface of the chasis, this outlet works with a Stereo cable and footswitch to control the Gain Boost and the E.Q. Very useful in adding a "second mode" to either the clean channel or the lead channel.