Mesa Boogie Musical Instrument OOGIEBMESA User Manual

ESA OOGIE  
B
M
TM  
Owner's Manual  
The Spirit of Art in Technology  
1317 Ross Street Petaluma, CA 94954  
USA  
 
Hello from the Tone Farm...  
..You, 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 designed and built another fine  
guitar amplifier that is destined to become a classic. By purchasing and  
choosing this unit to be a part of your musical voice, 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 a great amp, bred  
of fine all tube amp heritage...benefiting from the many pioneering and  
patented Mesa circuits that led to the refinement of your new  
instrument. 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.  
 
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.  
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 OF PROPER USAGE.  
 
TM  
Table of Contents  
Precautions  
FRONT PANEL  
Description and Usage  
1
1
2
2
2
2
Overview  
Power-Up  
Connect Footswitch  
Mode Select  
Sample Mode Settings  
CONTROLS  
Gain  
3
3
3
4
4
4
5
Master  
Treble  
Middle  
Bass  
Presence  
Toggle Switches  
REAR PANEL  
Fuse  
Record / Phones  
Description and Usage  
5
5
6
6
6
6
6
7
FX Loop: Send / Return  
FX Mix  
Silent Recording / Speaker Mute Switch  
Speakers  
Parts Sheet  
 
TM  
Operating Instructions  
Overview:  
The SUBWAY ROCKET ushers in a new era of compact, portable and affordable combo amplification that boasts no  
compromise, quality construction throughout. Don’t let small size and the sparse layout fool you...the ROCKET is an extremely  
versatile single channel, Tri-Modal amplifier that provides a georgious clean sound, a soaring high gain lead and a giant, grinding  
crunch - way too big for its humble size.  
The Three Footswitchable Sounds (Modes) of world class personality housed in a Baltic Birch cab, along with our custom-designed  
magic ten inch SUBWAY speaker, make the ROCKET a mighty ally in the studio, rehearsal hall or anywhere else that you  
might be in need of Heavyweight Tone in a Bantam-watt arena. Its powerful footswitching capabilities and all the Gain a player  
could need, make the ROCKET well suited for Rock, Pop, Country, Top 40 or any other style where versatility is the name of the  
game. Players who lean heavier in the Roots or Blues direction may want to take a look at the ROCKETS' older brother, the  
SUBWAY BLUES. This simplified SUBWAY focuses on power section clipibility with a Tone-packed, stripped pre-amp  
perfectly matched to the same twenty-watt burner.  
Looking to the ROCKETS' Rear Panel assures that your interfacing needs are covered. A parallel Effects Loop with a MIX  
Control provides tone insurance for even those questionable effects. Three speaker jacks ( one 8 Ohm and two 4 Ohm ) are  
provided to ensure the proper impedance match to the many types of speaker enclosures. A RECORD / PHONE OUTPUT JACK  
is provided to capture the ROCKETS' soulful character direct to tape or into your own personal headset. The SILENT  
RECORDING MUTE SWITCH LOCATED TO THE LEFT OF CENTER ON THE CHASSIS’ UNDER SIDE and just beneath the  
Rear Panel, is a handy feature for those late night sessions when live speaker volumes are just too loud or not needed.  
As you can see, the ROCKET provides all the features any demanding pro culd need and at the same time remains simple to  
operate.  
SUBWAY ROCKET  
FRONT VIEW  
ON  
RHYTHM  
ON  
5
5
RHY  
6
L
E
A
D
F
T
INPUT  
FT.SWITCH  
GAIN  
MASTER  
7
S
W
CONTOUR STANDBY POWER  
LEAD  
TREBLE  
MIDDLE  
BASS  
PRESENCE  
SUBWAY ROCKET  
REAR VIEW  
1
2
TM  
A
POWER  
DYNA -WATT  
SUBWAY ROCKET  
PREAMP PATENT  
4,701,957  
SPEAKERS  
FUSE  
0%  
%
100  
1A SB  
FX MIX  
RETURN  
RECORD / PHONES  
SEND  
4 OHM  
8 OHM  
4 OHM  
MUTE SPKR ON  
SILENT RECORDING  
HANDBUILT IN PETALUMA, CALIFORNIA.  
PAGE 1  
 
FRONT PANEL  
POWER-UP:  
First familiarize yourself with the Front and Rear Panels of your new ROCKET. 1.) Connect your favorite  
guitar to the instrument INPUT jack. Now turn the power switch "ON" 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 toneful life substantially. 2.) Connect the ROCKETS' Mode Select Footswitch ( which is included ) to  
the FOOTSWITCH jack that is located just below the instrument INPUT jack on the far left of the Front Panel. If the footswitch is  
not available, you may use the Mode Select toggle located to the left of the STANDBY switch to audition the ROCKETS' three  
distinctly different sounds (SEE NOTE.) 3.) Using the example below as a guide, set the controls as illustrated and turn the  
STANDBY switch to the ON position to fire up your new ROCKET. Now its time to play ! Run through the three Modes and feel  
free to experiment with the controls.  
NOTE  
The Mode Selector ( RHYTHM - LEAD - CONTOUR ) switch must be in the center ( MIDDLE ) position for the  
Mode Select Footswitch to work. This will select the Lead Mode until you choose another Mode with the Footswitch.  
RHYTHM ( up position )  
RHYTHM  
ON  
ON  
5
5
RHY  
L
E
A
D
F
T
6
INPUT  
FT.SWITCH  
GAIN  
MASTER  
S
W
0
0
CONTOUR STANDBY POWER  
LEAD  
TREBLE  
MIDDLE  
MIDDLE  
MIDDLE  
BASS  
PRESENCE  
PRESENCE  
PRESENCE  
LEAD ( switch in the center position )  
0
RHYTHM  
ON  
ON  
0
RHY  
L
E
A
D
F
T
6
INPUT  
FT.SWITCH  
GAIN  
7
MASTER  
4
S
W
CONTOUR STANDBY POWER  
LEAD  
TREBLE  
BASS  
CONTOUR ( down position )  
RHYTHM  
ON  
ON  
5
5
RHY  
L
E
A
D
F
T
6
INPUT  
FT.SWITCH  
S
GAIN  
7
MASTER  
4
W
CONTOUR STANDBY POWER  
LEAD  
TREBLE  
BASS  
NOTE  
It is normal for the volume of the CONTOUR Mode to be a little louder than that of the LEAD Mode, as the voicing of the  
LEAD Mode is being drastically re-shaped and some frequencies are being boosted quite dramatically to achieve this sonically  
powerful sound.  
Again, these are merely examples of how to set up your new ROCKET for its maiden voyage. Experimentation will lead you to  
many different sounds in each mode. Now that you have heard the three distinctively different Modes, let’s move on to  
understanding the controls and their interactive roles in achieving the sounds that you want to hear.  
PAGE 2  
 
CONTROLS:  
GAIN:  
This is by far the most powerful control in each of the three different Modes that are activated by the Mode switch. It  
not only determines the overall gain amount, shape and sensitivity of the Mode selected...but it is also a  
powerful Tone control. Generally speaking, whatever is dialed up here ultimately determines the Modes’  
personality. Set low, it allows cleaner and brighter sounds with enhanced dynamic response,  
especially in the higher frequencies. Set high, the whole personality of the Mode becomes darker,  
fatter and more overdriven. We worked hard to make sure that the entire range of Gain available is  
usable in the ROCKET and more importantly, musical. Don’t think for a moment that this simple layout  
limits you in any way in regards to the amount and texture of Gain that is available. Long neurotic hours  
were spent to ensure that the ranges of Gain were stylistically accurate. It’s probably a good time to  
5
INPUT  
FT.SWITCH  
GAIN  
mention that most of the great sounds can be found in the ROCKET by setting the GAIN Control moderately, especially in the  
LEAD MODE. For example, somewhere between through . In the RHYTHM position, try setting this control somewhere  
2
6
between  
through  
. Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occurring,  
3
8
while at the same time making all three Modes easier to balance in volume and FX send strength.  
MASTER:  
The individual MASTER Controls serve three purposes in the layout of the ROCKET. FIRST: They serve as  
level balancing controls for each of the two channels. This enables a wide range of front end  
Gain settings to be matched to a given listening level and the level of the other Modes.  
RHY  
SECOND: They act as Effect Send controls for each Mode in the Effects Loop. As with many of  
the controls on the ROCKET, the best results for balance and tone are usually found in the  
INPUT  
FT.SWITCH  
GAIN  
MASTER  
5
medium range of this control.  
LEAD  
THIRD: The MASTER Control is the Record / Phones Send Level control. When using the direct  
RECORD / PHONES jack found on the Rear Panel to interface directly to a mixing board or recorder, this control will determine the  
amount of signal you will be sending via this jack. In this application it is usually best to start with the MASTER Controls set to  
and gradually increase them to the proper level. This minimizes the possibility of blowing speakers or eardrums in the event  
3
the engineer has an extremely sensitive input headroom setting in place at the console.  
As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary controls. Its setting on the  
ROCKET determines the blend and strength of the MIDDLE and BASS Control. Set  
TREBLE:  
high, it is the dominant control, minimizing the amount of MID and BASS that  
would otherwise be possible in the mix. Set low, the TREBLE becomes the  
RHY  
recessive control and a warmer, darker blend is produced.  
INPUT  
FT.SWITCH  
GAIN  
MASTER  
Dial with care! Subtle tweaking of this control tends to produce the best results.  
LEAD  
TREBLE  
PAGE 3  
 
MIDDLE:  
Through endless daily tone dreaming, the "if-only" design dictum led to the MID Control that doubles as a dial-in  
gain boost. From to about the taper is adjusted to act as a very  
0
3
effective MID Control. As you increase the MID to  
and above, you will  
4
RHY  
hear the lower Mids getting more pronounced and fatter. When the MID  
Control is set above the MID leaves behind the old notion of being  
INPUT  
FT.SWITCH  
6
GAIN  
MASTER  
a tone control and becomes a truly usuable Gain control.  
LEAD  
TREBLE  
MIDDLE  
This upper range is a smokin’ addition to the ROCKETS' RHYTHM  
Mode and in conjunction with the GAIN Control all kinds of higher gain  
rhythm sounds are possible. Try the MID Control set high and the GAIN Control at about 6 7 for a cool blues solo sound. For  
a grinding crunch rhythm sound "Dime" the MID Control and stand back ! If this still isn’t crazy enough for you..."Max" the GAIN  
0
1
and TREBLE Controls and set the PRESENCE Control to  
. This should be sufficient enough fuel to get you to the next  
planet! The versatility that this dual purpose MID Control lends to the RHYTHM Mode of the ROCKET greatly expands its  
usefulness as both a clean and overdrive Mode.  
NOTE  
0
3
The lower region of the MID Control  
determines midrange punch and boldness in lower gain sounds and a  
smooth "vocal like" blend in high gain sounds. It can be very effective acting as a "cut through the band control" in certain  
situations. Dial to taste, remembering that the setting of the TREBLE Control greatly effects this control’s strength.  
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. In any one of the three Modes, be  
RHY  
especially careful using higher Gain settings. Too much  
BASS will cause a flabby unfocused sound that can’t be  
dialed out because excessive BASS has been introduced to  
INPUT  
FT.SWITCH  
GAIN  
MASTER  
LEAD  
TREBLE  
MIDDLE  
BASS  
6
the pre-amp in the early stages. Try setting the BASS to  
for clean sounds in the RHYTHM Mode and or below  
4
when dialing up High Gain overdriven sounds in this Mode. In the LEAD Mode, try setting the BASS somewhere between 0  
These settings will depend upon the amount of Gain and Treble that you have dialed up.  
3
.
PRESENCE:  
The PRESENCE Control attenuates the high end and controls dynamic compression in the power section.  
High settings produce more sparkle, cut and  
lend a more "open" quality to the RHYTHM  
RHY  
Mode. Low settings of the PRESENCE Control  
compress the sound and enhance the more  
vocal like qualities of single notes.  
INPUT  
FT.SWITCH  
GAIN  
MASTER  
LEAD  
TREBLE  
MIDDLE  
BASS  
PRESENCE  
This control can also produce a fatter, warmer  
character, especially in the LEAD Mode. Lower  
Treble settings, combined with low PRESENCE Control settings produce the richest and roundest lead sounds. For a clean sound,  
try setting the PRESENCE Control at around 5 or for the sweet blend of sparkle and cut in the RHYTHM Mode. This range in  
6
the RHYTHM Mode also tends to give the impression of more headroom. Try a LEAD Mode PRESENCE Control setting of  
start with and adjust to desired taste.  
to  
3
NOTE  
of annoying microphonic tube problems occurring.  
Avoid setting the PRESENCE Control to  
when High Gain and Treble settings are in use. This reduces the likelihood  
10  
PAGE 4  
 
TOGGLE SWITCHES:  
Use this toggle to select one of the three Modes - RHYTHM, LEAD or CONTOUR. This  
toggle can also take the place of the remote footswitch when there isn’t one handy.  
RHYTHM / LEAD / CONTOUR:  
ON  
RHYTHM  
ON  
L
E
A
D
F
T
S
W
CONTOUR  
STANDBY POWER  
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  
ON / STANDBY:  
ON  
RHYTHM  
ON  
to use. Before the Power is switched on, make sure the STANDBY switch is in the  
STANDBY position. Wait at least 30 seconds and then switch the STANDBY to the  
"ON" position. This helps in preventing tube problems and increases their toneful life  
substantially.  
L
E
A
D
F
T
S
W
CONTOUR  
STANDBY  
POWER  
This switch delivers the A.C. power to the SUBWAY ROCKET. Make sure the unit is grounded (all three  
POWER:  
terminals of the A.C. power cord must be connected whenever possible to avoid injury to  
RHYTHM  
ON  
ON  
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  
ROCKET.  
L
E
A
D
F
T
S
W
CONTOUR  
STANDBY POWER  
REAR PANEL:  
12 A  
TM  
DYNA -WATT  
POWER  
SUBWAY ROCKET  
SPEAKERS  
4 OHM  
PRE-AMP PATENT  
FUSE  
4,701.957  
1A SB  
%
100  
0%  
FX MIX  
RETURN  
SEND  
RECORD / PHONES  
8 OHM  
4 OHM  
MUTE SPKR ON  
SILENT RECORDING  
HANDBUILT IN PETALUMA, CALIFORNIA.  
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 1 amp slo-blo fuse. A power tube short or failure is often the cause of a blown  
fuse...Follow the cold start procedure mentioned in the ON / STANDBY switch section and watch the power  
tubes as you turn the STANDBY to the ON position. If a power tube is going bad or is arcing you will see it! Turn the  
FUSE:  
1/2 A  
FUSE  
1A SB  
STANDBY Switch to STANDBY immediately and replace the faulty power tube and the fuse if necessary. If you see nothing  
abnormal as you lift the STANDBY, it is possible that a power tube shorted temporarily and blew the fuse. If this is the case it may  
work again normally. To be extra safe you may want to replace all power tubes in the "shotgun" troubleshooting tradition and save  
the replaced set as spares. Don’t forget to carry along a few extra fuses to your gigs, they could be worth their weight in  
PAGE 5  
 
RECORD / PHONES:  
This jack provides direct-to-console interfacing for recording or sound reinforcement applications.  
It can also be used to power a set of personal headphones which is a convenient way to practice  
12 A  
day or night privately. It is a circuit dedicated to reproducing the roll off that occurs in the output section with a  
speaker connected. With accuracy, it faithfully captures the SUBWAY ROCKET'S soulful character.  
FUSE  
1A SB  
RECORD / PHONES  
The send level strength is determined by the GAIN and MASTER Controls. From this jack, adequate signal  
level will be available to you for most of your recording needs and live performances.  
These two 1/4" jacks are the patch point for external effects. The Effects Loop is wired in  
FX LOOP: SEND / RETURN:  
parallel with the normal signal. Connect the SEND jack of the ROCKET to your  
Effects Input jack. Connect the RETURN jack of the ROCKET to the Output jack  
of your effect unit. The Effects Loop is a patch point between the pre-amp and power  
section. Therefore, the RETURN jack can double as a "Power Amp Input" jack. When  
the RETURN is used as an input, the PRESENCE and MASTER Control of the active  
Mode are being utilized. While the RETURN is being used in this manner, all other  
controls are inactive.  
12 A  
SUBWAY ROCKET  
PRE-AMP PATENT  
4,701.957  
FUSE  
%
0%  
100  
1A SB  
FX MIX  
RECORD / PHONES  
RETURN  
SEND  
This control determines the dry/wet blend of the FX Loop signal in relation to the unaffected signal. Set to 0%  
you will experience only the dry signal (no effect) and at a setting of 100% the entire signal will be wet (total  
effect.)  
FX MIX:  
%
0%  
100  
FX MIX  
For the best results...Set the mix of your effect to 100% wet. Then dial in the amount of effect that you wish to  
hear, starting at 0% with the FX Loop Mix Control. The drier (closer to 0%) signal you use, the better your tone  
should be. This parallel type FX Loop allows the amplifier to retain its purity with the smallest amount of  
degredation due to possible effect impedance mismatching.  
RETURN  
This rocker switch which is located down under the chassis and selects between the live  
"Speaker On" setting and the silent "Speaker Mute" setting. This is a perfect solution for all-  
nighters! This switch mutes all of the signal at the power section driver stage, removing the need  
for a speaker load IN THIS POSITION ONLY!  
SILENT RECORDING:  
%
100  
MIX  
URN  
NOTE  
When this switch is set to the "ON" position, a speaker load must be maintained  
by either a load resistor of some type or a speaker itself. Failure to comply with this  
instruction could result in major damage to the amplifier. Leave your speaker connected.  
MUTE SPKR ON  
SILENT RECORDING  
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  
SUBWAY ROCKET is equipped with a single 10 inch 8 Ohm speaker, but as you can see, other  
speaker configurations may be 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  
SPEAKERS  
impedance required when using this particular speaker configuration.  
4 OHM  
8 OHM  
4 OHM  
PAGE 6  
 
 
The Spirit of Art in Technology  
1317 Ross Street Petaluma, CA 94954  
USA  
 

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