It was also available as a head a standalone amplifier , which could be hooked up to a number of different speaker combinations, although a 1x12" cabinet was the most common. Most Mark IIIs have presence and reverb on on the back except for long chassis' unless not desired by the buyer; Graphic EQ was also optional all in either head or combo format. This amplifier was voiced with a more mellow lead and crunch modes, with slightly reduced gain. Both versions are highly regarded; production of the Mark IV ceased in It also features two separate graphic EQs, which can be selected for each channel via mini toggles on each channel's front panel. However, the loop was placed between two critical gain stages, and tended to overdrive some instrument level effects, and also caused volume pedals to act as remote gain controls for the lead mode. It is based on the Mark 5: Reverb was optional, and not present on many early Boogies. Channel-specific Multi-Watt toggles dictate the power amplifier's operation class. The amp also features a switch to drop the amp's wattage down to 60 watts for use in smaller venues or recording. And which product started at ? Each channel has a toggle switch able to select between EQ active, off, or footswitched. Mark V[ edit ] The Mark V was introduced in early The resulting amplifier proved to be loud and successful, and Smith made more than of these Princeton "Boogies"—a name allegedly provided by Carlos Santana ,  who is to have exclaimed "Man, that little thing really boogies!
It introduced a third channel, a "crunch" rhythm sound right in between the rhythm and lead channels. It also features two separate graphic EQs, which can be selected for each channel via mini toggles on each channel's front panel. The reverb circuit was also noise-ridden on some models. All are welcome, from seasoned pros to absolute beginners. The reverb modification involved resistor swaps and a change in ground lead placement. Similar to the Express and F-series amplifiers, the graphic EQ also had channel-assignable contour knobs. The Mark IIC also featured a new Pull Bass shift on the front panel, which slightly extended the low frequencies in the preamp. Channel-specific Multi-Watt toggles dictate the power amplifier's operation class. In a simul-class amp, running all four tubes generates approximately 75 watts RMS of power; running only the class A tubes produces about 15 watts. Each channel also has three modes, which control several of the amplifier's 49 relays to mirror the circuit being modelled. The output section contains four EL84 tubes which can be switched between 10, 25, and 35 Watts. Just because i don't feel like waiting until tomorrow to call mesa and ask them, does anyone know of a way to determine the age of the amp based on it's serial number? The Mark I had two channels: They are here to help. Older Boogies were equipped with graphic equalizers, but these did not allow the same flexibility. Furthermore, the pull function labels above the Bass and Middle knobs were hand-etched onto the face plate resulting in a slightly different look than the other labels on the faceplate. And which product started at ? It had two cascading gain inputs and its controls were Volume gain 1, Volume gain 2, Master, High, Middle, Low, Limit or Presence depending on the version. This amp has a dual footswitch system: The "Input 2" channel, voiced like the Fender Bassman , and the high gain "Input 1" channel, which produced the overdriven "Boogie lead" sound used most notably by Carlos Santana on side 2 of Caravansarai , and by The Rolling Stones ' Keith Richards and Ron Wood , who used the amps live and in the studio from until Examples of this amp in its original form and in good condition are sought after by collectors and guitar aficionados. Richards ended up using the amp for the El Mocambo show as one of six , and the Stones, over the years, received and paid for over forty of Smith's amps. The reason for using a fetron was to address some of the problems associated with microphonic 12AX7 tubes in a high-gain situation; its use was later discontinued as newer production tubes were able to withstand the extreme conditions within the amplifier. It also features cab clone. It has three distinct channels, each with their own pre-gain three band tone stack, gain, master, and presence controls. At least I hope it does.
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