Mesa/Boogie Stiletto User manual

OOGIE
B
MESA
Owner's Manual

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. 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.

Precautions
Overview & Instant Gratification 1/3
Helpful Hints 4
Instant Gratification
THE MODES:
Channel 1: Fat Clean / Tite Clean / Crunch 4/5
Channel 2: Crunch / Tite Clean / Fluid Drive 6
FRONT PANEL CONTROLS & SWITCHES:
Gain, Treble / Mid / Bass 7/8
Presence / Master 9
Power Select: 100 watt / 50 watt 9
Channel Select 10
Output Control 10
Solo Control 10/11
Bold / Spongy 11
Standby 11
Power 11
REAR PANEL CONTROLS, SWITCHES & JACKS
Slave 12
Speakers 12
Channel Solo: External Switch Ports 13
FX Loop 13/14
FX Return As A Power Amp Input 14
Rectifier Select: Diodes / Tube Rectifier Tracking 14/15
AC Receptacle 15
Factory Sample Setting 16/17
Personal Settings Page 18
Tube Noise & Microphonics 19
Diagnosing Power Tube Failure 19
Diagnosing Pre Amp Tube Failure 20
Speaker Impedance Matching & Hook-up Guide 21/26
Bias Adjustment: A feature article by Randall Smith 27/29
Triodes, Pentodes & Irishmen: A feature article by Randall Smith 30/32
Tube Task Charts 33/34
Part Sheet 35
Table of contents

PRECAUTIONS & WARNINGS
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:
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.
WARNING: EU: permission from the Supply Authority is needed before connection.
WARNING: Vacuum tube amplifiers generate heat. To insure proper ventilation always make
certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet.
Keep away from curtains or any flammable objects.
WARNING: Do not block any ventilation openings on the rear or top of the amplifier. Do not
impede ventilation by placing objects on top of the amplifier which extend past the rear edge of
its cabinet.
WARNING: Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not
place objects filled with liquids on or nearby the amplifier.
WARNING: Always make certain proper load is connected before operating the amplifier.
Failure to do so could pose a shock hazard and may result in damage to the amplifier.
Do not expose amplifier to 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. 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. Remove the power plug from the AC mains socket if the unit is to be stored
for an extended period of time. 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. Do not use
solvents such as benzene or paint thinner to clean the unit. Wipe off the exterior with soft cloth.

Overview:
Congratulations on your choice of the Stiletto as your amplifier and welcome to the MESA/Boogie Family!
This design represents our experience gained over the last several decades hand-building all-tube, high performance amplifiers and
showcases ultimate tone and versatility served up with intuitive simplicity.
We wish you many years of inspired enjoyment from your new instrument and feel confident that it will exceed your expectations
right away. And as your musical journey unfolds, so will your Stiletto, proving its’ lasting value as it supports your musical growth for
years to come.
While the Stiletto is the first amplifier in the MESA Family that features exclusively the EL34 type power tube, it is no less endowed
with the patented features and refinements than its MESA siblings utilizing 6L6 type pentodes for power production. Years of scrutiny
and testing of the available ‘34‘s was incorporated into the long process of R&D to ensure reliable performance while we were extract-
ing our measure of this revered tubes’ golden elixir of harmonic bliss.
The Stiletto delivers all the vintage voodoo power-clip characteristics of the best classic British EL34 amps, and yet goes far beyond
those gems in terms of gain, expression, nuance and flexibility to put a new standard in place in the realm of EL Based circuits.
We begin with the straightforward 2 Channel platform that presents everything in a one glance, confidence inspiring visual tour of the
Front Panel. All the controls you need and nothing more. A closer look reveals two sets of mini toggles adjacent to the input GAIN
Control, one 3 position for each Channel, responsible for choosing one of 5 incredible Modes (CRUNCH appears in both channels).
PAGE 1
I
nstruction Manua
l
REAR PANEL : Stiletto
FRONT PANEL : Stiletto
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
GAIN
TREBLE
MID
BASS
PRESENCE
MASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
ON
STDBY
ON
POWER
LEVEL
SLAVE
OUT 4 OHM 4 OHM 8 OHM
8 OHM
SILICON
DIODE
CH 2 CH 1
TUBE
RECTIFIER
TRACKING
CHANNEL SOLO
EXT SWITCH
STILETTO
RETURN SEND SEND LEVEL
LOOP IN
WARNING: Unplug power
before replacing fuse or
removing bolts mounting
chassis
FUSE
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
OOGIE
B
MESA
The Spirit of Art in Technology
FX LOOP
SPEAKER
HAND MADE IN PETALUMA, CALIFORNIA ALL TUBE INSTRUMENT AMPLIFIER

Overview: (Continued)
The Preamp MODES: In Channel 1 the choices are grouped in reference to gain regions
usually associated with Rhythm styles; FAT CLEAN, TITE CLEAN and CRUNCH.
CHANNEL 1
The beauty of FAT CLEAN re-educates EL aficionados used to living with clean “inputs” that are no more than
upstream patch points. Satisfactory, though un-inspiring, we choose to switch in an entire clean-optimized preamp dedicated to spar-
kling highs, sweet mids and breathing lows. The FAT CLEAN mode invites a refreshing, re-defining look
at the expectations of clean sounds in this genre of amplifier.
The more stripped TITE CLEAN mode trims away some of this low end response and leaves you with
an urgent voice where mids and highs dominate and lows support. This difference is perfect when darker
mahogany guitars are in use or, in the studio when you need a part to sit in a mix without occupying
too much space.
From here gain is increased dramatically to produce CRUNCH, an essential, quintessential mode which delivers the spectrum from
classic Brit break-up, through tight Southern Crunch and eventually to a smoldering L.A. Grind. This mode is so flexible and its’ gain
region so inherently right for so many styles, that we repeated it as an option in Channel 2.
CHANNEL 2
This channel begins its odyssey into the realm of gain hellacious with an ingenious, yet common sense duplica-
tion of the CRUNCH mode found in Channel 1. A scheme that proves invaluable, as this versatile mode tops-out at the onset of
saturation, offering up a wide and usable range of medium gain. Not just great for rhythm playing, CRUNCH reveals a whole world
of articulate, earthy solo sounds that leave the vintage or modified circuits seeming a bit inadequate, if
not overpriced.
Next, the TITE GAIN mode steps into the MESA frontier of lead voices with a new and blistering rendi-
tion of the classic Brit sound that has been fortified with additional gain and classic Boogie focus. This
new sound adds a searing harmonic blade to the mid-focused, chest thumping hit so prevalent in the
U.K. based circuits and creates an addicting-to-play solo voice that stands proud alongside the likes of
our fabled Recto, Mark I and Mark IV.
And finally we come to FLUID DRIVE, the highest gain of the 3 modes in Channel 2. This self-descriptive mode adds yet another triode
stage to the preamp, unleashing a single note voice of unprecedented liquidity. Notes flow out into in a river of harmonic complexity
while retaining authority and depth, spread and focus. Here, the attack of the note is transformed into an instantaneous symphony
as it is morphing from an absolute bold event in time - to a spinning wheel of vowel sounds as the envelope changes during decay in
response to the rise and fall of input voltage generated by your picking technique.
All this preamp tone and flexibility is only half the story and magic though it is, the power section of the Stiletto plays an equal role
in making what we call a high performance amplifier. With the Stiletto you have options to tune the power to the sound you are
searching for, both channel specifically and globally, and these choices point at crucial differences in power response that turn good
tone into classic tone.
Each Channel features a 50/100 (50/150 Stiletto Trident) POWER SELECT switch that enables you to assign the number of output
tubes that will be brought on-line as a Channel is called up. In the Stiletto Deuce, 50 watts calls two tubes into service producing a
half-power scenario, while the 100 watt setting brings all four EL’s to life for big, tight headroom.
The Stiletto Trident lets you choose between the clip-able 50 watt two tube scheme, and the crushing might of 150 watts - where
all six output tubes unleash a previously unknown frontier of EL aggression.
PAGE 2
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE
GAIN
CRUNCH
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE
GAIN
CRUNCH

Overview: (Continued)
In addition to the channel specific power option, the Stiletto incorporates our patented TUBE
RECTIFIER TRACKING™ feature. This is also a Channel Assignable feature that appears as two toggle switches located on the
Rear Panel. These switches allow selection of a Rectifier style - Tubes for a saggy, compressed feel or Silicon Diodes for tight, punchy
response. When RECTIFIER TRACKING is selected, the proper amount of tube rectification is automatically called up for the
high power (1x5U4 in 50w, 2x5U4 in100w Deuce and 3x5U4 in150w Trident ) mode. This power-vibe flexibility allows you to zero
in on the sound as well as how that sound feels to play.
And finally, to further tune the power style, we’ve included our patented BOLD/SPONGY ™ switch. This useful feature allows you
to choose between the full 117 volts of incoming AC LINE voltage in BOLD or, use the SPONGY setting which acts as a built-in variac
to knock the incoming line voltage down to a brown-out like condition. This voltage difference also produces a dramatic difference in
the way a sound feels to play as well as accentuating different frequencies.
An Effects Loop BYPASS switch allows you to bypass the Loop and all associated circuitry (including the OUTPUT and SOLO Controls
which are part of the Loop Return stage) to produce a pure, unaltered signal path for studio work or any time you want the maximum
raw urgency of this shining tone blade. When you do choose to switch in the almost transparent Effects Loop, what little difference
you might notice is quickly forgotten with the usable power of the OUTPUT and SOLO Controls coming on line. The OUTPUT allows
you to adjust the overall level of both Channels with one knob, while the patented SOLO™ feature allows you to preset an additional
output level control and switch to it any time for a volume boost during live performances.
A SLAVE OUTPUT with level control is also provided to accommodate using the Stiletto as a master head in a large rack system
where it can be used to drive processing or additional power for large venues.
Two 4 Ohm and two 8 Ohm SPEAKER OUTPUT jacks enable you to match the impedance of most any cabinet configuration you
wish to use.
Now that we have a good idea of the features of your new Stiletto, let’s plug in and check out a quick demo setting to familiarize
you with the basic operation of the modes. You will find an expanded group of possibilities in the rear of this manual under SAMPLE
SETTINGS for your enjoyment at a later time.
INSTANT GRATIFICATION
Armed with a new perspective of just how incredible your new Stiletto really is, we can now take a closer look at each of the
controls and how they interact to produce your signature sound.
PAGE 3
INSTANT GRATIFICATION
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
GAIN
TREBLEMIDBASSPRESENCEMASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
ON
STANDBY
ON
POWER
Ch1 Neck / Ch 2 Rear
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
GAINTREBLEMIDBASSPRESENCEMASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
ON
STANDBY
ON
POWER
Rear Humbucker
INSTANT GRATIFICATION
OUTPUT
SOLO
BOLD
SPONGY
OUTPUT
SOLO
BOLD
SPONGY

HELPFUL HINTS:
1.) The OUTPUT Control works only when the FX LOOP is activated. Switch out of the Loop Bypass position on the Loop Assign
switch to activate the FX Loop and bring the OUTPUT Control on line..
2.) The SOLO Control is activated when the Footswitch is connected to the FOOTSWITCH jack on the Rear Panel and the FX LOOP
is activated. When the footswitch is not connected the SOLO Control will have no effect on the volume level.
3.) When the FX LOOP is activated it is normal to hear the volume drop a bit. Use the SEND Level Control on the Rear Panel even
if no processor is patched in to bring the volume level back up to approximately unity gain.
4.) The SOLO Control can be set for a volume level above that of the OUTPUT Control setting. It will not allow a setting below that
of the OUTPUT.
5.) The GAIN and TREBLE are the most powerful controls in both channels. They should be used with taste and you will find that
the the best sounds are found with these two controls set somewhere in their middle regions. Avoid setting the TREBLE above 2:00
when the GAIN is maxed as the possibilities for noise and squealing from microphonic preamp tubes increases dramatically.
6.) Choosing the proper Rectifier mode with the RECTIFIER SELECT switch located on the Rear Panel that best suits the sound style
you are trying to dial can greatly enhance the performance. TUBE RECTIFIER TRACKING produces a more elastic feel and softer
clipping characteristics which is especially great for single note soloing. SILICON DIODES produce more power and headroom
and can also track better for extreme gain settings while staying tighter in the bottom end.
7.) The PRESENCE Control determines alot about the voicing of gain sounds. Set lower it will fatten and compress single note sounds
and lend a liquid feeling to the strings in Channel 2. Above 12:00 it starts adding cut and tightness in both channels.
Hopefully these tips have helped you in getting ready to enjoy a walk on the wild side and by now you should be getting pretty familiar
with your newStiletto so lets move on to understanding and reviewing the rest of the features that are instrumental in helping to
shape your sound and tone.
FRONT PANEL: Controls & Features
The MODES: Channel 1
As mentioned in the Overview, each of the Stiletto’s two channels contain three modes of opera-
tion. These are laid out, in terms of their gain structure, such that as the mini toggle is switched down, the gain increases. The one
exception is in Channel 1, when in TITE CLEAN (middle position) gain in the bottom end is reduced.
Channel 1 is dedicated to a range of gain more suited to Rhythm playing with two modes that are lower
gain - aimed at clean chording, and one medium gain mode aimed at crunch rhythm styles.
FAT CLEAN (toggle up) walks the line between many of our previous clean circuits to produce a mode
that can be as versatile as it is vintage. It traces its’ lineage back to the best of the Black Face era and
pays tribute to the bloom and lushness of those American classics - while at the same time retaining the boldness, shimmer and
punch of the early Mark I Boogies.
These qualities, when combined with the classic EL34 top-end sting and mid attack found in some of the best Brit circuits, unveil a
clean mode that resonates with players of both camps and brings a new and exciting personality to the world of rhythm sounds. This
mode works extremely well for clean soloing with an emphasis on rich bass frequencies that fill-in and round-out notes in the higher
registers, giving even the B and E strings body and depth high up on the neck.
PAGE 4
FAT
CLEAN
TITE CLEAN
CRUNCH

FRONT PANEL: Controls & Features (Continued)
The MODES: Channel 1 (Continued)
Because the voicing of this mode is heavy in these rich lows, it will be necessary at
times to reduce the setting of the BASS Control, especially when higher settings of the GAIN Control are to be used. Some amazing
clipped or pushed sounds are possible with the FAT CLEAN mode by cranking the GAIN and setting the BASS at 0 (7:00/off). Here, an
addicting smoothness is always present because the sub-low frequencies are allowed to pass freely and the entire spectrum warms
up and exudes soulfulness. Even when the BASS Control is used to trim away some of these lows, a fat smooth voice remains that
you will find useful for many applications.
TITE CLEAN (toggle in middle position) is the opposite in every sense. This mode is stripped of sub-lows and lower mids creating a
focused, immediate attack characteristic that can be described as unabashed forwardness. TITE CLEAN works great for chording
and parts played here will sit proudly and uniquely in a mix…even a complex one, because they require
little space to tell the story loud and clear.
When clipped, this mode behaves in a brash, urgent manner and with more bass frequencies trimmed
early on in the preamp, the BASS Control may be used to dial in tighter lows that compliment the top-end
perfectly. In fact, for clipped sounds in the Rhythm Channel, TITE CLEAN would almost always be the preferred choice. The balance
in all frequencies will result in the most cohesive distortion character, where the added gain stays more glued to the notes. Be sure to
check out using TITE CLEAN in combination with the 50 Watt power selection, the BOLD/SPONGY switch set to SPONGY and the
TUBE RECTIFIER TRACKING selected on the Rear Panel for some truly amazing power clip sounds.
CRUNCH (toggle down) is the ultimate in tight, urgent grind. The added gain in this mode, combined with immediate attack and a
brash attitude, makes this mode the old school Rock ‘N Roll dictionary of Brit inspired guitar sounds. This range of “medium gain” is
so versatile that you could use this mode alone for years, finding both great rhythm and solo sounds that
are accurate, articulate and expressive.
Because the CRUNCH mode is not as saturated, even at a maximum setting, as the two high gain
modes in Channel 2, it responds very well to adding additional gain by utilizing the switchable power
features. This mode spreads the perfect glazing of gain to give the right amount of attitude without covering up the natural character
of your guitar.
The inherent chirping harmonics are further enhanced by switching down to SPONGY which emphasizes top end shimmer while
scooping out a nice narrow slice of midrange. Choosing the TUBE RECTIFIER TRACKING sags the power down even further and
adds a creamy, legato feel - making single note playing effortless, while removing any hint of harshness and elevates this mode to
an incredible solo voice.
The incredible expression and versatility of the CRUNCH mode prompted us to provide a duplicate of this sound among the choices
in Channel 2. After becoming familiar with the many uses for CRUNCH, you will quickly discover the value of being able to use it for
one of two scenarios; either two slight variations of this mode set for similar gain ranges (using the two individual MASTER Controls
for levels) or, vary the gain range and use one for rhythm and one for soloing.
However you wish to dedicate your Channels, you will likely find CRUNCH to be one of the most important and essential modes in
your Stiletto.
Now that we have reviewed the modes in Channel 1 and understand the voicings, let’s move down to Channel 2 and get to know the
modes in your Stiletto dedicated to higher gain soloing.
PAGE 5
FAT
CLEAN
TITE CLEAN
CRUNCH
FAT
CLEAN
TITE CLEAN
CRUNCH

FRONT PANEL: Controls & Features (Continued)
The MODES: Channel 2
CRUNCH: See the description of this mode under Channel 1 as it is duplicated here in Channel
2. Don’t underestimate this mode for its’ soloing potential. Despite the lower gain range, it has virtues for lead work the other higher
gain modes are missing due to their more saturated character.
Though the CRUNCH modes are basically duplicated in the two channels, there is a difference in how
you must set them in relation to the PRESENCE Control.
NOTE: The PRESENCE Control in Channel 2 uses a different (slower) taper pot so that the two higher
gain modes will work properly and allow you a better range of Presence settings. The PRESENCE Control
in the CRUNCH mode in Channel 2 will need to be set higher to achieve the same sound as the CRUNCH mode in Channel 1 set
with all the other controls the same.
TITE GAIN (toggle in middle position) takes the classic EQ curve of CRUNCH with its’ bold, forward mid attack and chirping, articulate
top and kicks the gain up several notches to create the ultimate high gain lead sound with an unmistakable Brit character. Adding
compression and sustain to an already classic sound, the extra gain allows TITE GAIN to sing with
conviction and authority and yet it still retains all the articulation and accuracy of its lower gain cousin
CRUNCH. For those who have grown up on classic British circuits or rely on them for a large part of
their style, TITE GAIN is a single note tone fantasy that will elevate your soling to new heights. The less
resistant feel on the strings will have you burning…smashing your previous metronome boundaries with
an effortless flow and sense of confidence you have likely never experienced.
For de-tuned moshing there may be no equal to TITE GAIN (except of course for our Dual and Triple Rectifier Solo Heads ).
TITE GAIN is tailor made to keep the low frequencies in line and tracking tight. The obvious mid range focus and lack of sub-lows here
ensures that your de-tuned groves will cut with a ferocious intensity and stop on a dime when you cut off the notes. Tight, searing, and
honed to a glistening stainless polish, the Stilettos’ TITE GAIN is the ultimate blade in the world of modern hyper-gain rock.
FLUID-DRIVE™ oozes with smoldering, layered harmonics and represents the highest gain mode in your new Stiletto. Its namesake
pays tribute to the type of playing that it shines for, and like TITE GAIN, it will have you breaking all tempo barriers in no time with its
consistent string resistance and easy-to-play-feel across the entire range of the instrument.
Compressed and fat, smooth and vocal, FLUID-DRIVE is the ultimate voice for memorable melody lines
or liquid lead lines that drip with soul. Here the midrange frequency has been lowered to lend a thicker,
deeper voice to single notes and this is often the perfect compliment to other guitarists in the band or
for when you need your lines to have added girth. No British circuit has ever come close to delivering
a solo sound with this depth, breadth or intensity through a power section driving the EL34, and this catapults the genre into a new
realm of single note solo mastery.
For high gain chording or rhythm work, FLUID-DRIVE can produce a wall of layered harmonics that can grind with the best of the
Stilettos’ vintage sounds and is definitely worth auditioning for thicker rhythm parts. Because of the greater content of sub-low bass
and lower frequency of midrange, you will want to dial these two regions more carefully and possibly lean a little harder on the TREBLE
and MID to achieve the best balance and retain the tightest attack.
Hopefully the descriptions of the Modes and their possible applications have given you some insight as to how to configure your
Channels to give you the greatest flexibility. Now let’s move to the rest of the Front Panel and check out the controls and switches.
PAGE 6
FLUID
DRIVE
TITE GAIN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH

FRONT PANEL: Controls & Features (Continued)
While you have most likely taken your new Stiletto for an inspiring spin around the world of high performance EL34 tone, we encour-
age you to read through the Control section to learn how these interactive controls can shape your dream tone. Many hours were
spent making sure they are powerful, musical and that they will deliver all the shaping power you’ll ever need to craft a signature
sound all your own.
GAIN:
This control adjusts the predominant gain stage in each channels’ circuit with the function and taper being optimized for
each individual channel. Remember that your Stiletto is really two separate multi-mode amplifiers built onto one chassis, so though
each channel looks identical, the GAIN Control for each channel comes in a different place and adjusts a different point in that chan-
nels circuit.
In most guitar amplifiers, and especially in all-tube circuits, the GAIN Control is the most
powerful control in the preamp. It shapes the overall style and character of the sound and is
responsible for whether the sound is clean, overdriven or anywhere in between.
In your Stiletto, the GAIN Control is even more powerful. It not only determines the amount
of drive, but also acts as an integral part of the tone control string as well.
1) The GAIN Control has basically three tonal regions -
Low (7:00 - 11:00) provides the cleanest, least saturated sounds and in this region the sound will be brighter and contain more upper
harmonics lending a three dimensional character to the sound.
Middle (11:15 - 2:00) enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a fuller
bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in both channels. This region con-
tains many of the Stilettos’ best sounds...especially for soloing due to the crucial blend of an expressive attack combined with ample
sustain.
High (2:15 - 5:00) saturates the signal and enhances low and low mid frequencies. While this region provides the maximum satura-
tion and therefor sustain, it also compresses and softens the attack characteristics.
NOTE: Due to the Stilettos’ extreme gain potential, the highest regions of the GAIN Control may possibly push the pre-amp tubes
past what they can handle, producing microphonic squealing. While we screen and test the tubes your amplifier was shipped with
and the tubes in your amp passed our rigourous test, we can’t predict how the tubes will respond over time exposed to extreme
gain settings. Your tubes are warrantied for a period of 6 months under normal use, but you can save yourself the present and future
inconvenience of having to deal with annoying microphonic tube problems by simply using a little common sense...Don’t turn the
Gain all the way up with the Tone Controls at their maximum settings!
If you must for a specific part or at very low volumes, back down the TREBLE and PRESENCE Controls. Your Stiletto was designed
to provide amazing gain and tone at less than extreme settings removing the need for you to crank everything all the way up. If you
are not able to achieve the sound you want at sensible settings on any or all of the controls, your problem may lie elsewhere in the
signal chain, i.e. pick-ups, cabinetry, processing etc. Keep in mind you can always call on one of our product specialist Monday through
Thursday and seek some advice should you find yourself struggling to get the sound you want.
2.) GAIN - In conjunction with the Tone Controls - Basically, a simple rule applies...as the Gain is increased the Tone control string
has less and less effect on the signal until at 5:00 the signal is so saturated that you are getting mostly Gain and very little Tone. Again,
this is the reason we suggest using the GAIN Control in its middle region. Here the Tone control string is very active and provides
maximum shaping power - allowing you to dial virtually any sound you desire.
PAGE 7
GAIN
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH

PAGE 8
FRONT PANEL: Controls & Features (Continued)
TREBLE:
As in most tube guitar amplifiers, the TREBLE Control (in both channels of your Stiletto ) is the most powerful of the
rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is first in the signal path of the tone controls
- and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of the
TREBLE Control is very important for equal representation of the three frequency regions to appear at their respective controls. Like
most of the controls on your Stiletto, there is an optimum region of the TREBLE
Control where ample top end is mixed in and yet enough signal is still passed on to
the MIDDLE and BASS Controls.
As you might surmise, here is the sweet spot. There are definitely great sounds
above and below this middle region (11:00 - 1:30), but the balance between the
TREBLE Control and the other two tone controls is compromised.
The one place you may want to throw caution to the wind and set the TREBLE Control
above this median zone presents itself in Channel 1. In CRUNCH, the TREBLE Control can be used to dump extra gain into the mix.
This is especially effective for crunch sounds. When doing so, use the PRESENCE Control to roll off some of the more than ample
top end for a more compressed feel and fatter voice. As you might surmise, the BASS Controls’ effectiveness will be reduced, so you
may have to run a much higher setting than you are used to seeing to achieve a balance. This said, keep in mind that the TREBLE
Control in Channel 1 CRUNCH should not be set much above 2:30 to avoid unwanted microphonic tube problems.
MID:
The MID Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic
as that of the TREBLE Control, it plays an integral part in achieving any sound in your Stiletto. It is capable of changing the feel
dramatically as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
Many players tend to lean in the direction of lower MIDDLE Control settings (7:00 - 11:00) where a
scoop in this region produces girth (by letting the Bass become a little more dominant) and a lack of
punch lends a more compressed, even feel to the strings and therefore less apparent resistance to
the pick. As the MIDDLE Control is increased, (11:30 - 1:30) the sound is rounded-out and filled-in
with a focused mid attack appearing rather quickly. As you would guess, the feel starts to change
- becoming more resistant. Above this region the MIDDLE Control could be used to compensate for
either weaker pick-ups or for times when a specific deficiency is produced by either an extremely
high setting of other tone controls, or a physical anomaly in the room. While these MIDDLE Control
settings (2:00 - 5:00) can introduce added gain and create enhanced focus, the trade-off will be a
stiffer, more forward, less compressed feel.
BASS:
Last, but not least in the string of tone controls we come to the BASS . This control works similarly in both channels in
that it determines the amount of low frequencies present in a sound. However, the actual frequencies and style of lows it mixes in
changes from channel to channel and within the different modes. Like the MIDDLE Control, it falls in line signal-wise after the TREBLE
Control and the same scheme applies. When the TREBLE Control is set high, the effectiveness of the BASS and MIDDLE Controls
is reduced. If the TREBLE Control is set low these two controls become dominant.
For the most balanced sound and a balance of power between the three rotary tone controls, try to
use the TREBLE Control in its middle ranges. This scenario produces nearly equal representation
of all the frequencies on the tone controls and provides a great nuetral starting point for further
tweaking.
GAIN
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE
GAIN
CRUNCH
TREBLE
GAINMID TREBLE
BASS
TREBLE
MID

FRONT PANEL: Controls & Features (Continued)
PRESENCE:
The PRESENCE Control is a high frequency attentuator that is placed at the end of each channels pre-amp stage
and affects frequencies higher than those of the TREBLE Control. It acts independantly of the other rotary tone controls and is crucial
in voicing the channel. It is a powerful global tone control. Lower PRESENCE Control settings darken and, in fact compress the signal
which works well to fatten single note solo sounds, giving them girth and focus. Some of the best
lead sounds in your Stiletto will find the PRESENCE Control in its lower regions, where a bal-
anced, vocal response is achieved.
Higher settings unleash the mighty roar of your Stiletto and this can be great for sparkling clean
sounds in Channel 1 and more aggressive crunch rhythm sounds in the high gain modes. Be
sure to taunt the beast that lurks in Channel 1 and 2’s CRUNCH mode as the PRESENCE is truly
amazing in this most agro mode.
MASTER:
This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can see
each Channel is fitted with its own MASTER Control, enabling the channels relative volumes to be matched regardless of their ex-
tremely different sound styles and gain signatures. The MASTER Control makes possible a wide range of sounds through its ability
to use very low Gain sounds at high volumes and conversly, high Gain sounds at low volumes and everywhere between.
Again, we suggest using the MASTER Control in its sensible ranges (9:00 - 2:00). Here, the chan-
nels will be easier to match with each other and the Effects Loop will see more reasonable signal
levels.
NOTE: Because the MASTER Control creates the send to the Effects Loop, extreme settings
will cause a large signal to be sent to the Loop for that Channel. Not only may this cause possible
overloading of the processors Input stage, but will make balancing the two channels’ Effect Send
level difficult.
POWER SELECT: 100 watt / 50 watt
These mini toggles determine the power section mode for each channel and can be
switched at any time during performance, or when the amplifier is in STANDBY. The choices are 100 watt (150 watt - Trident ) or
50 watt (Trident and Deuce ). In the 100 watt setting all four (all six, 150 watt -Trident ) power tubes are on line and delivering the
maximum power and headroom. (Assuming all other power switching features are set for max power.) In the 50 watt setting, only two
of the four (or six) power tubes are operational and the rest are in a standby mode.
This power programmability is a powerful feature that allows you to tune the power rating to the style
of preamp performance you have set up and create a sound that is both stylistically accurate and
inspiring to play. Combining the power selections with the other switchable power features takes
this concept even further to create the ultimate EL34 tone weapon.
NOTE: When using the POWER SELECT switch in the 50 watt mode, try experimenting with the 4
Ohm SPEAKER OUTPUT. This selection creates a “more proper” impedance match and imparts a slightly brighter, snappier voice.
This is not critical to performance as the Stiletto is not overly sensitive to impedance, but you may prefer this EQ characteristic.
If you prefer the 8 Ohm speaker tap for its bolder, rounder tone, by all means continue to use it, either way is fine and you need not
consider which one you use as far as reliability goes. We just wanted to give you this little tip and we always encourage experimenta-
tion on the path to finding your ultimate tone.
PAGE 9
PRESENCE BASS MID
MASTER PRESENCE BASS
100 W
50 W
100 W
50 W
MASTER PRES
FTSW
CH 1
CH 1

PAGE 10
FRONT PANEL: Controls & Features (Continued)
CHANNEL SELECT:
This 3 position switch - located in the centerline of the chassis between the two channels - is responsible
for selecting the desired channel when the Stiletto Footswitch is not being used. This comes in handy in the studio where you may
wish to use the head in the control room with the cabinet isolated and select the channels for overdub
parts, or any time the footswitch is not needed for performance.
To use the Footswitch, set the mini toggle in the center position - labeled FTSW - and connect the
standard stereo cable to the FOOTSWITCH jack on the far right of the Front Panel. Selecting one
of the Channels with the Channel Select toggle when the Footswitch is connected will override the
Footswitch.
OUTPUT CONTROL:
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 Stiletto amplifier 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 Stiletto
amplifier as a power amp - the SOLO Control can be used to attain a footswitch-
able boost if the Footswitch is connected. It is wired in parallel to the OUTPUT
Control and therefore controls the volume of the power section as well.
NOTE: The Effects Loop RETURN jack can serve as a power amp input so
that you may use the Stiletto amplifier as a power amp for either stereo reproduction or to incorporate additional pre-amps. Here are
a few things to remember that will help you when interfacing to the Stiletto for use as a power amp only;
1.) The OUTPUT Level will be the only active control on the Front Panel (the PRESENCE Control of Channel 1 will be active only
when that channel is engaged).
2.) The SOLO Control may be used to footswitch to a pre-determined amount of boost when the footswitch is connected.
3.) Channel 1’s FAT CLEAN and TITE CLEAN modes - as part of their voicing - utilizes less negative feedback in the power stage
creating a scenario of increased power sensitivity. This increased power sensitivity may not be as easy to work with when using the
Stiletto as a stand alone power amp. Therefore we suggest selecting Channel 2 (any of the 3 modes) for a more traditional power
sensitivity.
SOLO CONTROL:
This control can only be activated if the correct Footswitch is connected to the Footswitch jack. SOLO
is an additional final output level control ontrol 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.
100 W
50 W
100 W
50 W
MASTER PRES
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
OUTPUT
SOLO
BOLD
SPONGY

FRONT PANEL: Controls & Features (Continued)
SOLO CONTROL: (Continued)
If the power section is either not a part of the sound (super quiet), or producing all its rated
wattage (super loud), there is very little signal for the SOLO Control to work with. By using the Footswitch and selecting SOLO, a
pre-settable boost in overall level is possible on the fly...giving you some control over your level 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.
BOLD / SPONGY:
There are two A.C. power selections available in your Stiletto head and each is equally important when
looking for a particular sound. “SPONGY” works like a built in Variac, reducing all the internal voltages for a true vintage feeling and
that extraordinary “brown sound.” Power is reduced somewhat too, making it easier to achieve an overdriven power sound, especially
when the RECTIFIER SELECT switch is set to the TUBE RECTIFIER TRACKING position.
Using either Stiletto Head in the SPONGY power setting will also extend tube life and overall
reliability, while still producing enough power to work many of your gigs...and all of your record-
ing needs!
With the Stiletto POWER SELECT switch in the BOLD position, maximum power, clean
headroom and volume are obtained.
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.
POWER:
This switch delivers the A.C. power to the Stiletto. 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 Stiletto.
Now that we’ve covered the Front Panel Controls & Features, let’s spin around to the back side and go through the
features that call the Rear Panel home as there is more valuable and intuitive shaping power available there.
BOLD
SPONGY
ON
STANDBY
ON
POWER
ON
STANDBY
ON
POWER
ON
STANDBY
ON
POWER
PAGE 11

REAR PANEL: Controls & Features
SLAVE:
This 1/4” jack and its’ associated LEVEL Control capture the entire sound of the amplifier, both preamp and power sec-
tion, and give you an adjustable signal you can use for feeding outboard processing and/or additional power amplifiers. This signal is
derived from the speaker output and is then padded down to provide a usable range that will be appropriate for either the input stage
of a processor or the input of an external power amp.
The SLAVE output is not like the effects loop - in that once a signal has been taken from the SLAVE,
it can not be returned to the Stiletto RETURN jack or Input. Doing so will result in a feedback loop
which will produce a high pitch squeal much like a microphone held to a monitor.
Because the Stiletto is a high performance concert-ready head, this output is provided as a one-
way-send, intended for feeding large outboard rack systems which in turn feed additional tube power
amplifiers. In this scenario, the Stiletto would be a “dry” master head (tone generator) and this sound would then be fed via the SLAVE
output - to a rack of processing, then that signal would likely be split into stereo and fed to one or more stereo amplifiers for amplifica-
tion of the separate “wet” sound. This scheme, while cumbersome and expensive, ensures the best big venue tone, as it preserves
the original master heads’ sound and gives you separate control over the wet sound in a parallel world. This separate treatment of
the processed sound mimics having separate channels of processing on playback in a recording console and is the ultimate way to
make sure there are no compromises in your live tone.
NOTE: While you can use almost anything as additional slave amplifiers, may we humbly suggest that using another Stiletto for mono
enhancement or, one of our dedicated rack mount all-tube stereo power amplifiers for stereo rigs - will preserve and in fact enhance
the original Stiletto dry signal. (Call us and ask to speak with a Product Specialist who can advise you as to which stereo model
would best suit your needs). We have designed these stand alone power amplifiers to deliver ultimate Tone, might and portability and
when combined with your Stiletto, they will create a dream rig of mind-bending performance.
SPEAKER:
These are the Speaker Outputs for connecting your cabinet(s) of choice. Your Stiletto is not very sensitive to im-
pedance mismatching and therefore we encourage experimentation with regards to speaker loads. You may feel free to try an 8 Ohm
load on the 4 Ohm jack or a 16 Ohm load on the 8 Ohm jack as you may discover a characteristic that the mismatched load imparts
on the sound that is desirable.
MESA 4x12 cabinets are wired in Series/Parallel and are rated at 8 Ohms and these should
normally be connected to the 8 Ohm jack. When using two MESA 8 Ohm 4x12 cabinets, con-
nect them each to a 4 Ohm jack as doubling the load on each jack produces a total load of 8
Ohms and is a proper impedance match.
Feel free to use speaker cabinets built by other manufacturers (at least until such time you can
check out a MESA cabinet) and these are often wired to produce a 16 Ohm load which you
would want to connect to the 8 Ohm jack. Two 16 Ohm cabinets would be connected each to
an 8 Ohm jack. Overall your Stiletto is very impedance friendly and most speaker loads will work great with the exception of slightly
shorter power tube life occurring when a mismatch in the low direction (two 4 Ohm cabs - each in a 4 Ohm jack to produce a total
load of 2 Ohms) is used for long periods of time.
PAGE 12
SPEAKERS FX LOOP
LEVEL
SLAVE
OUT 4OHM 4OHM 8 OHM
8 OHM
HANDBUILT IN PETALUMA , CALIFORNIA
SILICON
DIODE
CH 2 CH 1
TUBE
RECTIFIER
TRACKING
CHANNEL SOLO
EXT SWITCH
STILETTO ALL TUBE INSTRUMENT AMPLIFIER
RETURN SEND
SEND LEVEL
LOOP IN
WARNING: Unplug power
before replacing fuse or
removing bolts mounting
chassis
FUSE
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
OOGIE
B
MESA
The Spirit of Art in Technology
FX LOOP
LEVEL
SLAVE
OUT
HAND BUILT IN PE
4OHM 4OHM 8 OHM
8 OHM

PAGE 13
REAR PANEL: Controls & Features (Continued)
CHANNEL SOLO: External Switch Ports
These jacks provide an external trigger port for the Channel Select and SOLO
functions. They may be connected to an external master controller (usually MIDI programmable) so that one command can control all
footswitchable functions on your Stiletto, along with any midi program change commands sent to your outboard processors. This is
a great feature that will allow you to avoid the dreaded pedal board dance.
The EXTERNAL SWITCH jacks respond to latching type logic where the “tip” is shorted to the “ring”
or ground. This is also referred to as tip-to-ground logic and is the most common type of switching
logic used in tube musical instrument amplifiers. Simply connect a standard unshielded 1/4” cable
to the Stiletto EXTERNAL SWITCH jacks and connect these to a latching tip-to-ground port on
the master switching device. Refer to the master switcher’s manual as to how to control and store
the function jacks under a program.
FX LOOP:
Your Stiletto is fitted with a Series Effects Loop for interfacing outboard processing. The Loop is placed at the junc-
tion between the preamp and the power amp and is optimized for levels that will match up with most good quality processing devices.
A SEND LEVEL Control is provided to fine tune the signal strength coming from the preamp and allows for some compensation for
extreme Channel MASTER settings. As mentioned earlier, the Front
Panel OUTPUT (and SOLO) Control is part of the Effects Loop Return
stage and therefore these are not active when the Loop is switched
out of the circuit.
As you have probably noticed, the Loop may be switched out of the
signal path completely using the LOOP IN/HARD BYPASS switch
located adjacent to the loop. This switch engages the Loop SEND and
RETURN jacks, SEND LEVEL Control, OUTPUT and SOLO Control
and all associated circuitry. When LOOP BYPASS is selected (switch down) the entire Loop is removed from the signal path and the
individual Channel MASTER Controls become your final output level controls. This HARD BYPASS feature allows you to use your
Stiletto in all its’ raw glory in the studio where processing will be added later on a separate channel and you need every ounce of
pure, unfiltered, Tone for a magical performance.
To use the FX LOOP, start by using premium quality shielded cables of the shortest possible length (preferably no more than 3 feet).
1) Connect the SEND to your processors INPUT.
2) Connect the RETURN to your processors OUTPUT.
3) Set the two Channels to your dedicated sounds and levels using the Channel MASTER Controls.
4) Select LOOP IN on the LOOP Select switch.
5) Set your processors’ INPUT Level control for unity gain.
6) After playing in the two channels, Adjust the Rear Panel SEND LEVEL to achieve a good unity gain peak level (remember that
clean sounds will peak a bit higher because of their more dynamic, less compressed nature).
7) Adjust the Front Panel OUTPUT Control to the desired playing volume.
8) Connect the Footswitch (to the Front Panel FOOTSWITCH jack, select SOLO and adjust the SOLO Control for the desired amount
of volume boost.
IN PETALUMA, CA
8 OHM
CHANNEL SOLO
EXT SWITCH
SOLO
EXT SWITCH
RETURN SEND
SEND LEVEL
LOOP IN
FX LOOP

REAR PANEL: Controls & Features (Continued)
FX LOOP: (Continued)
You will find the FX LOOP a welcome feature for all rack type processing and when good quality cables
are used and kept to a length of 3 feet or less, you will notice very little if any degradation in the sound of your Stiletto.
NOTE: Because the FX LOOP is wired in series with the main signal, it is very important that you choose processing devices that
are of professional grade quality from reputable manufacturers. In a series configuration, your amplifiers sound will depend on the
integrity of the processors’ input and output stages, because you have inserted something into the heart of the most sensitive place
in your amplifier.
USING THE FX RETURN AS A POWER AMP INPUT:
You may, at times, wish to use the Stiletto as a stand alone power
amp for amplification of processing or as half of a larger stereo rig. Because of the channel and mode specific changes that take place
internally you will want to follow the suggestions below for the best results.
1) The FX LOOP SELECT switch must be set to LOOP IN (Loop engaged).
2) The FX LOOP RETURN jack is the INPUT to the power section. This jack bypasses the entire preamp including the GAIN and all
the Tone Controls.
3) Use Channel 2 (any of the 3 modes) when using the FX LOOP RETURN as a power amp input. Due to changes that occur in the
negative feedback circuit between the channels, you will find Channel 2 to have more traditional power sensitivity. The increase in
negative feedback (essential for the sounds in Channel 2) and associated lower power sensitivity is much easier to work with and will
also operate at a lower noise floor. Using Channel 1 (FAT CLEAN or TITE CLEAN) - with their reduction of negative feedback - will
result in a substantial increase in sensitivity and volume, making the OUTPUT Control way too sensitive for most slave power ap-
plications. Additionally, the PRESENCE Controls will not have any effect on the signal because they switch to the end of the preamp
in these two modes. Because there is no negative feedback in these two clean modes, the PRESENCE switches automatically to a
different type (more of a preamp brightness control) than in all the other modes. Selecting Channel 2 removes the need to think about
this scenario and gives you a working traditional power section PRESENCE Control.
4) The OUTPUT is your level control.
5) You may use the SOLO Control for a footswitchable volume boost (Footswitch must be connected).
6) You may use the Front Panel POWER SELECT switches to select a power rating that is appropriate for the venue or application.
7) The choice of rectifiers is still available when using the Stiletto FX RETURN as a power input. Remember that this choice is chan-
nel specific. The SILICON DIODE selection is more in line with what you would find in most all other stand alone power amplifiers,
but for guitar applications it is nice to have the choice of the saggy response of tube rectification.
RECTIFIER SELECT: Diodes / Tube RectifierTracking
These channel specific switches determine the type of rectification
the power section of your Stiletto will operate on. The choices are the solid state SILICON DIODES which convert the A.C. to D.C. with
a constant stiffer, tighter character or, TUBE RECTIFIER TRACKING which monitors the Front Panel POWER
SELECT and auto-selects the proper number of 5U4 rectifier tubes for a saggy, compressed power feel. This
patented switchable choice of rectification is at the heart of being able to nail the sounds we all hear as clas-
sics and imparts a feel on the strings like no other element in a guitar amplifier. Tube rectification is especially
important when trying to dial-in vintage type sounds where - in the era before MESA introduced the
PAGE 14
SILICON
DIODE
CH 2 CH 1
TUBE
RECTIFIER
TRACKING

REAR PANEL: Controls & Features (Continued)
RECTIFIER SELECT: Diodes / Tube RectifierTracking (Continued)
world to the high gain preamp, power clip char-
acteristics were the only way to get a heavier sound. As the power section tries to draw more current at higher volumes, the tube
rectifiers begin to sag and compress the sound while scooping the harder midrange frequencies, creating an ultra expressive power
signature. Solid state rectifiers do the opposite and deliver a steady, stiff supply of current - enabling the power section to crank out
its rated wattage with immediate response and tight authority.
TUBE TRACKING would likely be the choice for single note soloing where each
note morphs through the vowel sounds as the dynamic content changes from
attack to decay. The SILICON DIODES will keep bass frequencies tight and track
better at extreme preamp gain settings, especially when detuned or at higher
volumes, and emphasize attack and urgency.
The Switchable Rectifier feature is a huge part of the success of our entire Dual
Rectifier line and has elevated them to their current status as iconic classics.
AC RECEPTACLE:
The removable “Euro” Style” A.C. cord that is supplied with your new Stiletto makes set-ups and tear-downs
after the gig a snap. It also makes de-racking much easier when you wish to remove the unit from a hard wired rack system where all
the A.C. cords have been cable-tied in. Additional heavy duty cords are available should you
ever need one...simply call us direct and we can ship one directly to you for a nominal charge,
plus shipping cost. Make sure the A.C. cord is firmly seated in the A.C. RECEPTACLE before
powering up the amplifier.
NOTE: Never alter the three prong power cord in any way.
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 4 amp ( Stiletto Trident ) 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 flip the STANDBY to the ON position.
If a power tube is going bad or is arcing you will see it! Flip the 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 switch, 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
safe, you might want to replace it and just the adjacent tube or all 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 be worth their weight in gold someday.
That covers the features and functions on the Rear Panel and by now you should be ready to start crafting your dream Tone. If you
would like some examples of ways to set the modes in your Stiletto for different applications, you may find the following SAMPLE
SETTINGS helpful.
We wish you a lifetime of amazing and inspirational Tone from your new musical instrument and our hope is that it takes you to new
and exciting places on your musical journey.
WARNING: Unplug power
before replacing fuse or
removing bolts mounting
chassis
FUSE
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
OOGIE
B
MESA
The Spirit of Art in Technology
FUSE
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
WARNING: Unplug power
before replacing fuse or
removing bolts mounting
chassis
OOGIE
B
MESA
The Spirit of Art in Technology
PAGE 15
SEND
SEND LEVEL
LOOP IN
SILICON
DIODE
CH 2 CH 1
TUBE
RECTIFIER
TRACKING
FX LOOP

PAGE 16
FACTORY SAMPLE SETTINGS
SAMPLE #1. Skinny Clean / Grinding Tight Crunch Clean Ch 1
Diodes
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
GAIN
TREBLE
MID
BASSPRESENCE
MASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
ON
STANDBY
ON
POWER
Ch 2
Diodes
SAMPLE #2 Big Clean / Bigger Lead Ch 1 Diodes Ch 2 Tube Rectifier
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
GAINTREBLEMIDBASSPRESENCEMASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
ON
STANDBY
ON
POWER
SAMPLE #3 Brown Crunch / Vintage Lead Ch 1 Tube Rectifier Ch 2 Tube Rectifier
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
GAINTREBLEMIDBASSPRESENCEMASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
ON
STANDBY
ON
POWER
SAMPLE #4 Brit Crunch / Mod. Lead Ch 1 Diodes Ch 2 Diodes
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
GAINTREBLEMIDBASSPRESENCEMASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
ON
STANDBY
ON
POWER
SAMPLE #5 Flat Out Ch 1 Diodes Ch 2 Diodes
INPUTFT.SW
FAT
CLEAN
TITE CLEAN
CRUNCH
GAINTREBLEMIDBASSPRESENCEMASTER
100 W
50 W
100 W
50 W
FTSW
CH 1
CH 2
OUTPUT
SOLO
BOLD
SPONGY
ON
STANDBY
ON
POWER
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
FLUID
DRIVE
TITE GAIN
CRUNCH
FLUID
DRIVE
TITE GAIN