Mesa/Boogie Three Channel Dual & Triple Rectifier Solo... 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
____________________________________________________________________
1-4
HELPFUL HINTS
_________________________________________________________________
3
INSTANT GRATIFICATION
__________________________________________________________
4
FRONT PANEL CONTROLS & FEATURES
INPUT
__________________________________________________________________________
4
FOOTSWITCH
___________________________________________________________________
4
DRIVE
__________________________________________________________________________
5
CHANNEL SELECT
_______________________________________________________________
5
DRIVE / CLEAN
__________________________________________________________________
5
THICK / NORMAL / THICKER
_______________________________________________________
6
GAIN
_________________________________________________________________________
6-7
TREBLE / MID / BASS / PRESENCE
________________________________________________
7-8
MASTER
________________________________________________________________________
9
30 WATTS / 15 / 5 WATTS: Channel Power Select
____________________________________
9-10
OUTPUT & SOLO CONTROLS
_____________________________________________________
10
POWER ON / STANDBY ON
_______________________________________________________
11
REAR PANEL CONTROLS, SWITCHES & JACKS
FUSE
__________________________________________________________________________
12
FX LOOP: Series
_____________________________________________________________
12-13
REVERB
_______________________________________________________________________
13
CHANNEL & SOLO: External Switch Jacks & FAN ON/OFF Switch
______________________
13
SPEAKERS & SLAVE
___________________________________________________________
14
REVERB REMOTE JACK
__________________________________________________________
14
FACTORY SAMPLE SETTINGS & PERSONAL SETTINGS SHEET
_____________________
15-17
TUBE MAINTENANCE & DIAGNOSING TUBE FAILURE
______________________________
18-19
TUBE DESCRIPTION & TASK CHARTS
______________________________________________
20
SPEAKER IMPEDANCE & POSSIBLE HOOK-UP SCHEMES - Amps to Speaker Cabs
____
21-26
BIAS ADJUSTMENT: A feature article by Randall Smith
____________________________
27-29
TRIODES, PENTODES & IRISHMEN: A feature article on the workings of tubes
_________
30-32
PART SHEET
___________________________________________________________________
33

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.

PAGE 1
Overview:
Congratulations on your choice of the
Lone Star Special
as your amplifi er and Welcome to the
Mesa/Boogie
Family! This hand-built instrument was crafted with the fi nest quality components and designed to provide you with years of musical
inspiration and toneful satisfaction.
From a glance you can see the
Lone Star Special
is laid out simply and logically. Its clean, two channel layout provides a platform
for ultimate expression with a minimal learning curve. Though you have probably experienced the magic of its character already, this
guide will help you to understand the interaction of the controls and features…allowing you to fi nd your sound more quickly and devi-
ate from there easily in new musical environments.
The two channels provide the entire range of gain, from sparkling clean to totally saturated, and anywhere in between. Channel 1
(top) is based on a traditional gain structure to produce angelic and warm clean sounds in its low to medium gain ranges. Like most
great amps, this channel can be driven to clip and produces incredible solo possibilities for blues or roots chording styles.
Channel 2 has a split personality and can either be set to achieve a slightly gainier clone of Channel 1 or, with the fl ick of a switch
become a high gain preamp. Switching in the DRIVE control adds 2 more triode stages and an additional gain control to meter in the
exact blend of smooth singing saturation. The bipolar nature of Channel 2 allows the
Lone Star Special
to roam effortlessly through
both vintage and modern territory with full channel switching accuracy and an emphasis on soul and simplicity. You can set up the
amp for two low gain channels, one for sparkling clean and the other driven into an old school clip or, one for low gain clean and the
other for high gain singing sustain.
The
Lone Star Special
takes channel switching further and allows you to choose the amount of power and type of rectifi cation you
want to combine with each preamp channel. The EL84 powered Special takes this concept to a new dimension and provides three
choices for power that feature two different types of power tube confi guration within the realm of its pure Class A design!
Instruction Manual
REAR VIEW : Lone Star Special
INPUT
FT.SW
FRONT VIEW : Lone Star Special
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN TREBLE MID BASS PRESENCE MASTER
STANDBY
ON
POWER
NOR ON
WARNING:
Unplug power
before replacing
fuse or removing
bolts mounting
chassis
SLAVE
POWER FUSE
2 A
SLO
BLO
120 V~
60 Hz
2 A
WER FUSE
FUSE
FUSE
First set sound with
LOOP bypassed. Then
set SEND & OUTPUT
to 50% for unity gain.
With LOOP IN, adjust
SEND to match FX.
Use OUTPUT for
RETURN level and
live volume control.
SEND RETURN
NORMAL
MIN
SEND LEVEL
LOOP
IN
HARD BYPASS
OOGIE
B
MESA
LONE STAR
CH 2 REVERB CH 1
REVERB
BRIGHT
REV WARM
ALL - TUBE
AMPLIFIER
CHANNEL SOLO
EXT
SW
SPEAKERS
OPTIONAL
FOR 35 WATTS
MAIN OUT
FOR 30-15-5 WATTS
TUBES: see owner's
manual
1 x 5Y3
ONLY 4 x EL-84
FAN ON
FAN OFF
HAND BUILT IN PETALUMA CA.
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO

PAGE 2
Overview: (Continued)
The power choices range from 30 watts (using 4 x EL84) to 15 watts (using 2 x EL84) to 5 watts
(using 1 x EL84), allowing the Special to soulfully cover any situation from mid-size clubs to combo rehearsals to bedroom recording - while
always staying in a power-optimized range. The power tube wiring confi guration is changed to accommodate these different wattage ratings
and offer the sweetest sound and best feel for each of the three choices. The 30 and 15 watt selections utilize a Push-Pull confi guration
for its quicker response and greater power effi ciency characteristics. The 5 watt setting introduces a unique new Single-Ended design for
the ultimate warm, furry vintage voice.
Single-ended circuits do not split the waveform into two separate out-of-phase halves to be amplifi ed separately. Therefore, the precious
and musically beautiful 2nd harmonic (one octave above the notes being played) is not cancelled out like it is when the opposite phased
waveforms are combined in the output transformer in a push-pull circuit. The gorgeous 2nd harmonic remains intact in the Special’s 5 watt
Single-Ended setting. Though subtle, most players hearing this magic for the fi rst time are instantly hooked… asking why everything they
play sounds so much better than they have ever heard it sound before. The 2nd harmonic is truly a beautiful part of the spectrum and when
present, adds a warm glow and a halo around each note - so don’t be surprised if the 5 watt setting becomes your favorite…especially
for practicing alone or recording nuances.
The 30 and 15 watt push-pull settings accentuate the 3rd harmonic (an octave and a 5th above the notes played) which tends to sound
punchier and tighter and cuts through a mix a little better. This is sonically perfect for using these two power ranges to play with a band
or record in a complex mix. Bass frequencies will track tighter and higher gain settings especially in the DRIVE mode of Channel 2 will
respond more accurately with the blend of the 3rd harmonic in the mix.
To take Channel Specifi c power selection even further the
Lone Star Special
incorporates our patented Rectifi er Tracking™ feature.
This ingenious feature auto-selects the tight tracking authority and maximum headroom of the SILICON DIODES when the 30 watt set-
ting is called up and brings up the 5Y3 rectifi er tube for increased dynamic character and a juicy feeling sag when either 15 or 5 watts
is chosen.
However you choose to utilize your channels, these power-selectable-per-preamp choices are incredibly intuitive and allow for extreme
stylistic accuracy when dedicating the two channels to your footswitching needs.
The OUTPUT control is joined by our SOLO feature that provides an additional master output that you can trigger remotely for a
footswitchable boost when you want to feature a part. These two Front Panel controls are brought on line with the activation of the Effects
Loop. When the Loop is not active, the individual Channel Master controls serve as fi nal output controls. When the Loop is set to HARD
BYPASS, all associated circuitry is removed (for you purists) from the signal path. Since the OUTPUT and SOLO controls are wired as
Loop Returns, at the end of the preamp and Loop signal path, they are defeated when the Loop is bypassed.
As mentioned above the Effects Loop handles outboard processing with fi nesse. The ability to HARD BYPASS the loop entirely assures
the purist in you will be satisfi ed in the studio where every nuance of tone is crucial and you don’t need the SOLO feature.
The pure, all tube Reverb is fi tted with a Bright/Warm switch that enables you to tailor the reverb sound to the style you are playing. Bright
delivers a vintage-inspired sound complete with the identifi able haze of harmonics associated with older amp circuits, while WARM pro-
duces a more pure, studio quality character. Individual blend controls for each channel allow you to get the mix just right for each of the
sounds you have designated to the two channels.
External switch ports are provided to assure that you can interface the
Lone Star Special
with larger rack or multiple amp setups. The
Channels and SOLO feature will respond to any tip-to-ground latching type logic at their corresponding jacks. You can control these features
via external and/or midi commands with any switcher that supports grounding type logic within their programmable menus. The
Lone Star
Special
chassis can be retrofi tted to a
Lone Star
Rackmount Kit available from your local Mesa Retailer or directly from the factory.
And fi nally, a SLAVE Output jack and Level control round out the Rear Panel enabling you to use the
Lone Star Special
as the “dry”
master amp for a stereo setup, drive an external rack of outboard processing or, simply add additional power for larger venues. Unlike

PAGE 3
Overview: (Continued)
the EFFECTS SEND jack, this output captures the entire sound of the preamp and power sec-
tion and is generated by padding down the signal at the speaker output.
NOTE:
Once you have taken a signal from the SLAVE Output - do not go back in to the EFFECTS LOOP RETURN jack. Doing so
will create a feedback loop and squealing will occur.
That covers the features of the
Lone Star Special
, so let’s move on to the individual controls and how they interact so you can fi nd
your sound. First though, here are a few helpful hints to get you started.
HELPFUL HINTS:
1.)
After unpacking your new amplifi er, save the packing material and box should you move or ever want to ship you amplifi er.
2.)
Remove the plastic webbing from the power tubes before connecting the A.C. power cable!
3.)
Make sure the A.C. power cable is connected to a grounded (3 hole) socket.
4.)
Make all speaker connections with unshielded speaker cable.
5.)
Make all external processing connections to the Effects Loop with shielded cable.
6.)
When the Footswitch is not available or desired, use the Front Panel mini toggle to select the two channels.
7.)
The Front Panel OUTPUT and SOLO controls are not active until the Effects Loop is switched to the LOOP IN position. Use the
Channel MASTER controls for output volume level when the LOOP is set to HARD BYPASS. If using the amp with LOOP IN without
effects,
ALWAYS
make sure the SEND LEVEL is Set to the NORMAL(12:00) position.
NOTE:
If the SEND LEVEL is set below NORMAL(12:00) with LOOP IN, SEND & RETURN are not at unity gain and output will be
NOTE: If the SEND LEVEL is set below NORMAL(12:00) with LOOP IN, SEND & RETURN are not at unity gain and output will be NOTE:
diminished.
8.)
As with all
MESA
amplifi ers, the
Lone Star Special
controls really work and are extremely powerful. You will fi nd most of the best
sounds will be produced by setting the controls in their middle ranges, and very rarely higher than 3:00. The balance between them is
the important part and they are most interactive when no one dominates the mix. Adhering to this scheme will avoid excessive tube
noise and possible microphonic preamp tube problems.
9)
When connecting your processing to the Effects Loop follow these steps;
1.
Set up your two Channels for the desired sounds
2.
Balance the volume of the Channels with the Channel Masters
3.
Connect your processor Input to the Effects Loop SEND
4.
Connect
processor Output to the Return
5.
Activate Effects Loop (LOOP IN)
6.
Set processor Input Level control for unity gain (0db)
7.
Adjust
the overall Effects Loop SEND LEVEL control to fi ne tune the processors Input signal.
8.
Adjust overall playing volume with the
Lone
Star Special’s
Front Panel OUTPUT control.
10.)
If you are using the amplifi er with both Channels set to the 30 watt output setting, try connecting an 8 ohm load to the OPTIONAL
(8 ohm) jack. This scheme provides a bolder, snappier response and increases overall power and headroom making this scheme
preferable for certain styles. If you are using the amplifi er with both Channels set to the 15 or 5 watt output setting, try connecting
an 8 ohm load to one of the MAIN OUT (4 ohm) jacks. This scheme provides a softer, warmer response and may be preferable for
certain styles.

PAGE 4
Overview: (Continued)
Now let’s move on to understanding the individual controls and their interactive roles in shaping the sounds
you
want to hear.
you want to hear.you
FRONT
PANEL:
Controls
&
Features
INPUT:
This is the instrument
INPUT
jack. This jack feeds the preamp and since the
Lone Star Special
is a high gain amplifi er
and therefore very sensitive, always use a high quality shielded cable between the instrument and the amplifi er. This will prevent
unwanted noise and microphonic cable sounds.
FOOTSWITCH:
This 1/4 inch stereo jack is for connection of the Channel Select Footswitch. When the
FOOTSWITCH
is con-
nected here with the provided stereo cable, the Channels and SOLO feature may be controlled remotely.
INPUT
FT.SW
INPUT
FT.SW
GAIN TREBLE MID BASS PRESENCE MASTER
SAMPLE #1. Sparkling Clean / Singing Lead
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN TREBLE MID BASS PRESENCE MASTER
SAMPLE #2. Roots Clean / Old School Clip
NOR
Instant Gratification Demo Settings
STANDBY
ON
POWER
ON
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
INPUT
FT.SW
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
INPUT
FT.SW STANDBY
ON
POWER
ON
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15

PAGE 5
FRONT PANEL: Controls & Features (Continued)
DRIVE:
This is the pre-drive control for the high gain preamp in Channel 2. It may be switched out of the circuit, along with its
associated tube stages, to create a slightly higher gain clone of Channel 1 in (this bottom) Channel 2. When the
DRIVE
control is
activated (switch left, towards
DRIVE
), this control operates in conjunction with the GAIN control to meter the amount of preamp drive
that will be introduced into the circuit.
Generally speaking, you will fi nd better response and dynamics combined with smoother saturation
by setting the GAIN control higher than
DRIVE
. In fact you might try leaving the GAIN set to 2:00
or 3:00 and just playing with the
DRIVE
to learn the regions of saturation.
You will probably fi nd the more blues oriented sounds between 9:00 and 11:00, while the really
saturated high gain sounds appear between 1:00 and 3:00.
Setting the GAIN control slightly higher than the
DRIVE
will produce a warmer quality to the sound and in most cases this is prefer-
able. By all means experiment with setting the GAIN lower than the
DRIVE
, as the brighter, thinner character may be desirable for
your application.
Learning the relationship between these two controls is probably the most important element to fi nding your signature lead sound.
They are extremely powerful, as they control how your guitar feeds the preamp and also determine the signal strength that is pumped
through the tone control string. This in turn affects how the tone controls will respond. At extremely high settings you will be hearing
mostly gain saturation as the tone controls become recessive due to over-saturation.
This is fi ne if complete saturation is the desired effect, but remember, many of the best sounds are found with more moderate settings
where the gain controls interact with the tone control string to produce a balance of frequencies.
CHANNEL SELECT:
This 3 position mini toggle allows manual selection of the Channels when the Footswitch is not connected.
Set it to the center FT-SW position to use the Channel Select Footswitch.
DRIVE / CLEAN:
This switch is responsible for activating the
DRIVE
circuitry in Channel 2. Set to
DRIVE
, the overdrive circuitry is
active and additional tube stages are added in front of the normal “rhythm” circuitry to produce a multi-stage high gain lead channel.
Set to
CLEAN
, all overdrive circuitry is removed and Channel 2 is a slightly higher gain clone of
Channel 1. Because of this additional gain in what is otherwise a “rhythm” circuit, Channel 2 is an
amazing solo channel for Roots style rhythm work or howling blues solo sounds.
Cranking the GAIN control in Channel 2
CLEAN
is a wonderful alternative to the more saturated
sound of the
DRIVE
circuit.
You will fi nd ample gain to get notes to sound fat and singing, and still retain all of the urgent
dynamics of a clean sound that is driven to clip.
INPUT
CH 1
FT SW
CH 2
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MALNOR
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR

PAGE 6
FRONT PANEL: Controls & Features (Continued)
THICK / NORMAL / THICKER:
This 3 position mini toggle allows you to select between three different voicings. It selects what
frequency the Treble control will enhance. By lowering the frequency of the treble capacitor, additional gain in these frequencies is added.
This allows you to shape the sound for either sparkling clean sounds, or fatten up the Treble region and thicken the sound for more voice
like single note solo sounds. Spend some time experimenting with this switch as it can be crucial
to attain the lead sound you are searching for as well as allowing you to cop the vibe of several
classic amp styles.
NORMAL
is the best choice for clean chording and traditional blues style single note solo sounds.
In this position the highest frequencies are passed through with the best balance between the
three tone controls gain wise. In other words, the gain of the Treble region is in line with that of the
Bass and Mid. Here the most sparkle and shimmer will appear and a beautiful blend will be easy
to achieve for all your clean work. The
NORMAL
selection will also let the true character of your
individual guitar shine through more than the gain enhanced character of the other two choices.
When searching for identifi able signature sounds,
NORMAL
would be the best choice for traditional “black face” style clean or clipped
sounds due to this lack of alteration of the classic treble frequencies.
THICK
lowers the frequency of the Treble region while keeping the gain closer to that of the
THICK lowers the frequency of the Treble region while keeping the gain closer to that of the THICK
NORMAL
setting. This selection fattens the
upper region and smears the line between Mid and Treble to achieve a more robust, throatier sound.
THICK
is the best choice when
THICK is the best choice when THICK
searching for classic British style response for either chording or overdriven sounds. You might think of it as a “plexi” switch.
THICKER
lowers the Treble frequency even further and adds considerable gain in that region. It can enhance high gain solo work by
saturating the sound and covering up fret buzz, weak pickups or other nuances that will appear as holes in a high gain lead sound. It
allows you to retain focus at extreme gain settings while at the same time reducing the dreaded buzziness that can appear with certain
guitars or speaker choices. This setting has appeared in various clothing on virtually all
MESA
amplifi ers through the years and is classic
Boogie.
THICKER
is the choice for the trademark singing sustain that has long been associated with our amplifi ers.
GAIN:
This control adjusts the predominant gain stage in each channel’s circuit with the function and taper being optimized for each
This control adjusts the predominant gain stage in each channel’s circuit with the function and taper being optimized for each
individual channel. Remember that your
Lone Star Special
is really two amplifi ers 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 channel’s circuit.
In most guitar amplifi ers, 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
Lone
Star Special
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.
To simplify the
GAIN
controls’ role in shaping the overall tone of the sound we will look at it
in two ways -
1)
alone and
2)
in conjunction with the tone controls.
1) By itself 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
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
NORMAL
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN
NOR

PAGE 7
FRONT PANEL: Controls & Features (Continued)
GAIN:
(Continued)
bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in both
channels. This region contains many of the
Lone Star Special’s
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, enhances and expands low and low mid fre-
quencies. While this region provides the maximum saturation and therefor sustain, it also
compresses and softens the attack characteristics. For this reason we suggest using this
higher region of the
GAIN
control sparingly and only when maximum sustain is needed.
NOTE:
NOTE: NOTE:
Due to the
Lone Star Special’s
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 amplifi er was shipped with
and the tubes in your amp passed our rigourous testing, we can’t predict how the tubes
will respond over time exposed to extreme gain settings. Your tubes are warranted 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...Use the Gain sparingly at the higher end of its range!
If you must for a specifi c part or at very low volumes, back down the TREBLE and PRESENCE controls. The
Lone Star Special
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 fi nd 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.
TREBLE:
As in most tube guitar amplifi ers, the
TREBLE
control (in both channels of your
Lone Star Special
) 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 fi rst 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
Lone Star Special,
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
.
sweet spot. sweet spot
There are defi nitely 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
TREBLE
control can be used to dump extra gain into the mix. This is especially effective in Channel 1 and Channel 2 with the
DRIVE bypassed. 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 control’s effectiveness will be reduced, so you may have to run a much higher
setting than you are used to seeing to achieve a balance.
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN
NOR
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN TREBLE
NOR

PAGE 8
FRONT PANEL: Controls & Features (Continued)
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
Lone Star Special.
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.
Most players tend to lean in the direction of lower
MID
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
even feel to the strings and therefore even
less apparent resistance to the pick. As the
MID
control is increased, (11:30 - 1:30)
the sound is rounded-out and fi lled-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
MID
control could be used to compensate for either weaker
pick-ups or for times when a specifi c defi ciency is produced by either an extremely
high setting of other tone controls, or a physical anomaly in the room. While these
MID
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:
T
he
BASS
control in your new
Lone Star Special
works similarly in both channels in that it determines the amount of low
frequencies present in a sound. However, the
style of lows
it mixes in changes from channel to channel. Like the MID control, it falls
style of lows it mixes in changes from channel to channel. Like the MID control, it falls style of lows
in line signal-wise
after
the TREBLE control and the same scheme applies. When the TREBLE control is set high, the effectiveness
after the TREBLE control and the same scheme applies. When the TREBLE control is set high, the effectiveness after
of the BASS and MID 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 repre-
sentation of all the frequencies on the tone controls and provides a great neutral starting point
for further tweaking.
Note:
The
BASS
control in both channels of your
Lone Star Special
is very powerful and
though we have taken steps to ensure a balanced tone is easy to achieve, it is wise to blend
with subtle nuance in mind. This is especially true in Channel 2 when using either the regular Channel 1 style gain circuitry cranked,
or the DRIVE circuitry for higher gain lead sounds. A good rule to follow is this; as you increase the GAIN reduce the BASS. Following
this scheme will retain balance and keep the attack of the notes dynamic, tight and touch sensitive.
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 independently 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
Lone Star Special
will fi nd the
PRESENCE
control in it’s lower regions, where a balanced, vocal response is achieved.
TREBLE BASS MID
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN MID
TREBLE
NOR
TREBLE PRESENCE MID BASS

PAGE 9
FRONT PANEL: Controls & Features (Continued)
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 fi tted with its own
MASTER
control, enabling both 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 conversely, 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,
sensible ranges (9:00 - 2:00). Here, sensible
the channels 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 both channel’s Effect Send level diffi cult.
NOTE:
When the Effects Loop is set to HARD BYPASS, the individual Channel MASTER controls act as the fi nal output controls.
This is a result of removing all associated Loop circuitry - and since the OUTPUT and SOLO controls are part of the Effects Return
stage - they are bypassed as well.
30 WATTS / 15 / 5 WATTS: Channel Power Select
These channel specifi c mini toggle switches allow you to preset the output
power of each channel. In the 30 watt setting (up) all four EL84s are on line, delivering maximum power and punch. The 15 watt setting
runs only the outside (far left & far right) pair of tubes to achieve a bubbly elastic bounce. The 5 watt setting uses 1 x EL84 (far left
facing rear) to produce the ultimate low power setting. This powerful feature can be
crucial to the sound style you wish to dedicate to each of your two channels.
For example you might want to use Channel 1 set to 30 watts and use all four EL’s
to achieve the ultimate clean headroom and power. Meanwhile, Channel 2 could be
cranked and dedicated to a power clip solo sound by setting the power select switch
to 15 watts and bypassing the DRIVE circuitry for an awesome old school power
section pushed tone.
Or, you might want the opposite and set Channel 1 to 15 watts of sparkling, yet forgiving clean performance and go for the bold
authority of 30 watt power for Channel 2 set to a soaring high gain voice using the DRIVE circuitry.
As mentioned earlier in the OVERVIEW, the power tube wiring confi guration switches between Push-Pull in the 30 and 15 watt settings
and Single-Ended in the 5 watt setting. The class of operation remains pure Class A in all three of the power selections.
Again, Push-Pull circuits are more effi cient, producing more power and emphasizing the punchier 3rd harmonic (an octave and a 5th
above the notes played) which is preferable for playing with ensembles or recording in complex mixes. The character of the sound
with this element of the 3rd harmonic present cuts much better and is tighter and more defi ned, especially when using the DRIVE
circuit for high gain sounds. Single-Ended circuits retain the precious 2nd harmonic (an octave above the notes played) because the
waveform is never split into two out-of-phase halves to be later combined in the output transformer (as in push-pull circuits) cancel-
ling out the 2nd harmonic. This emphasis of the beautiful 2nd harmonic in a Single-Ended amplifi er makes the 5 watt selection the
obvious choice for any styles that require a sound rich with delicate nuance. When pushed to clip, this circuit produces a lush smooth
overdrive, purring with silkiness that is truly beyond-vintage.
Whatever power scheme you choose to use, the ability to select the power rating of each channel adds incredible footswitching power
to the Lone Star. Now the
Lone Star Special
takes this fl exibility to an altogether new realm of possibilities for personal expression
MASTER
BASS PRESENCE
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15
OUTPUT LOOP ON SOLO
MASTER
P U R E C L A S S A P O W E R
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15

PAGE 10
FRONT PANEL: Controls & Features (Continued)
30 WATTS / 15 / 5 WATTS: Channel Power Select (Continued)
offering 3 choices that showcase the two classic wiring
confi gurations per channel!
NOTE:
At some point in your experimentation with the Channel Power Select switches, try setting one or both of the Channels to 30W
and moving the Speaker Load to the OPTIONAL (8 ohm) jack. This produces a bolder, snappier response and a little more power
and headroom that is great for certain applications, especially clean sounds. There is no right way, but the difference in response is
defi nitely worth investigating for both clean and overdriven sounds.
OUTPUT & SOLO CONTROLS:
OUTPUT:
This control determines the overall output volume level of the amplifi er. 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
Lone Star Special
amplifi er
as a power amp alone by inserting
a signal into the RETURN jack, the
OUTPUT
control will serve as the master level control.
NOTE:
NOTE: NOTE:
To use the
Lone Star Special
amplifi er
as a power amp - use the EFFECTS
RETURN as an input. The SOLO control can be used to attain a footswitchable boost if
the Footswitch is connected. It is wired in parallel to the
OUTPUT
control and therefore
OUTPUT control and therefore OUTPUT
also controls the volume of the power section.
NOTE:
NOTE: NOTE:
The Effects Loop RETURN jack can serve as a power amp input so that you
may use the
Lone Star Special
amplifi er
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
Lone Star Special
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 - see #2)
2.
) The SOLO control may be used to footswitch to a pre-determined amount of boost when the footswitch is connected.
NOTE:
NOTE: NOTE:
Therefore, we recommend selecting Channel 1 when you wish to use the
Lone Star Special
as a power amp.
SOLO: This control can only be activated if the correct Footswitch is connected
to the Footswitch DIN jack.
SOLO
is an ad-
ditional fi nal output level control 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 amplifi er 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.
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 levels is
possible on the fl y...giving you some control over your levels when it’s time to step out.
Engineers may give you a bit of a frown the fi rst 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 sidefi ll version of your tone.
MASTER
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15
P U R E C L A S S A P O W
OUTPUT LOOP ON SOLO
MASTER
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15
P U R E C L A S S A P O W
OUTPUT LOOP ON SOLO

PAGE 11
FRONT PANEL: Controls & Features (Continued)
POWER ON:
This sideways 2 position toggle switch determines the status of the incoming AC power. During power up it is im-
portant that you turn the POWER switch on fi rst and allow at least 30 seconds of warm up time for the power tubes
before fl ipping the STANDBY to the ON position.
Following this start up procedure will lessen the shock on cold tubes and increase their toneful service life.
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 fl ip the
STANDBY
switch to the ON position. This prevents tube problems and
increases their toneful life substantially.
Now that we have reviewed the features and controls of the Front Panel and you have a handle on how they interact to achieve the
sound
you
want, let’s move to the Rear Panel and cover the controls and features found there.
you want, let’s move to the Rear Panel and cover the controls and features found there.you
STANDBY
ON
POWER
ON
STANDBY
ON
POWER
ON
REST AREA

PAGE 12
REAR PANEL: Controls & Features
FUSE:
This is the A.C.’s (Alternating Current) main fuse and provides protection from outside A.C. fl uctuations 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 2 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 fl ip
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 switch the STANDBY on, 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 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.
FX LOOP: Series
The
Lone Star Special
handles outboard processing by providing an on-board patch point between
the preamp and power section. This loop is wired such that the dry signal is in series with the effected (wet) signal. The circuit also
incorporates a
SEND LEVEL
control allowing you to fi ne tune the output of the preamp circuit to match the input sensitivity of your
processor (or fi rst processor in a rack system). The
EFFECTS LOOP
circuitry can be completely removed from the signal path with the
HARD BYPASS/LOOP IN
mini toggle. This removes all associated
loop circuitry and two tubes from the chain and ensures the purest
signal path and maximum sonic performance when outboard process-
ing is not being used. The
SEND
and
RETURN
jacks incorporate
switching elements so that you may use the
LOOP IN
selection and
activate the Front Panel OUTPUT and SOLO controls with nothing
connected to the Loop.
NOTE:
The Front Panel OUTPUT and SOLO controls are both part of the Loop and therefore active only when the Effects Loop
is engaged. They are both part of the Return stage and will remain inactive as long as the loop bypass mini toggle is set to
HARD
BYPASS.
To connect your outboard processor(s) to the Effects Loop;
1.)
Connect the
SEND
jack on the
Lone Star Special
Rear Panel to your processor’s INPUT using a high quality shielded cable of
the shortest possible length.
2.)
Connect the
RETURN
jack of the
Lone Star Special
to your processor’s OUTPUT also using a high quality shielded cable of the
shortest possible length.
3.)
Adjust the
SEND LEVEL
control on the Rear Panel of the
Lone Star Special
to achieve an adequate match on the INPUT level
indicator of your processor. Adjust the processor Output level stage (hopefully your processor has an OUTPUT LEVEL control) to
WARNING:
Unplug power
before replacing
fuse or removing
bolts mounting
chassis
SLAVE
POWER FUSE
2 A
SLO
BLO
120 V~
60 Hz
2 A
WER FUSE
FUSE
FUSE
First set sound with
LOOP bypassed. Then
set SEND & OUTPUT
to 50% for unity gain.
With LOOP IN, adjust
SEND to match FX.
Use OUTPUT for
RETURN level and
live volume control.
SEND RETURN
NORMAL
MIN
SEND LEVEL
LOOP
IN
HARD BYPASS
OOGIE
B
MESA
LONE STAR
CH 2 REVERB CH 1
REVERB
BRIGHT
REV WARM
ALL - TUBE
AMPLIFIER
CHANNEL SOLO
EXT
SW
SPEAKERS
OPTIONAL
FOR 35 WATTS
MAIN OUT
FOR 30-15-5 WATTS
TUBES: see owner's
manual
1 x 5Y3
ONLY 4 x EL-84
FAN ON
FAN OFF
HAND BUILT IN PETALUMA CA.
WARNING:
Unplug power
before replacing
fuse or removing
bolts mounting
chassis
POWER FUSE
2 A
SLO
BLO
120 V~
60 Hz
2 A
POWER FUSE
FUSE
FUSE
NORMAL
MIN
SEND LEVEL
First set sound with
LOOP bypassed. Then
set SEND & OUTPUT
to 50% for unity gain.
With LOOP IN, adjust
SEND to match FX.
Use OUTPUT for
RETURN level and
live volume control.
SEND RETURN LOOP
IN
HARD BYPASS
M
LONE STAR
TUBES: see owner's
manual
1 x 5Y3
ONLY 4 x EL-84

PAGE 13
REAR PANEL: Controls & Features (Continued)
FX LOOP: Series
(Continued)
match the volume present before connecting the device(s) to the
Lone Star Special.
You can
check this by simply removing both the cables from the
SEND
and
RETURN
simultaneously.
4.)
Use the Front Panel OUTPUT control to raise and lower the overall volume as it is essentially an Effects Return Stage volume
control.
NOTE:
It is normal to experience some amount of change to the sound when using the
EFFECTS LOOP.
Normally this is minimal
and most often appears as a subtle roll off in top end characteristics. This is a series loop and therefore the results you get using
it greatly depend upon the quality of the devices you insert into the loop. We strongly suggest taking your amplifi er and trying any
processor before buying it to make sure it is compatible with the
Lone Star Special.
Normally, the more professional series lines
of most companies building outboard gear work well. However we have seen even so called pro stuff produce less than satisfactory
results in terms of tonal thievery.
NOTE:
Engaging the
EFFECTS LOOP
circuitry adds a substantial amount of circuitry and two tubes and this additional circuit re-
verses the phase of the entire amp. This is no cause for alarm and if we hadn’t told you of this, you probably would never have known.
Sonically there is no difference other than the incredibly subtle difference in the sound the circuit itself adds.
The only time you will ever need to consider this reversal of overall phase is if you ever run the
Lone Star Special
in Stereo with
another amp (not another
Lone Star Special
as it would be in phase with its Loop activated). In this case you would probably want
to separate the two amplifi ers by at least a few feet if not on the other side of the stage.
REVERB:
The
Lone Star Special
incorporates a stunning analog Reverb circuit that is fi tted with individual Channel Mix controls
and a unique Reverb Voicing feature that offers a choice between two classic reverb sounds.
REVERB BRIGHT
produces a vintage guitar amp style brighter sound fi lled with
canyons of harmonics and the classic spring resonance, while
REV WARM
features
a smoother, warmer character often associated with large plate studio reverbs. You
will quickly see why we think the
Lone Star Special
Reverb is possibly our best
reverb to date.
Enjoy!
CHANNEL / SOLO: External Switch Jacks & FAN ON/OFF Switch
CHANNEL / SOLO:
These two 1/4” jacks provide an
interface for remote control of the Channel Select function as well as activation of the SOLO control. These jacks may be connected
to an external control unit that stores a grounding logic switch function under a midi program number, thereby removing the need to
use the included
Lone Star Special
Footswitch in larger stage rigs.
The
EXTERNAL SWITCH
jacks respond to any tip-to-ground latching type logic for their triggering. This
type of switching logic can be found on most midi master control switching units on the market.
FAN ON/OFF:
This mini toggle switch defeats the onboard cooling fan.
WE RECOMMEND LEAVING THE FAN ON AT ALL TIMES.
It may be switched off for short periods if
its noise compromises a recording environment.
CHANNEL SOLO
EXT
SW
FAN ON
FAN OFF
LOOP
IN
HARD BYPASS
OOGIE
B
MESA
LONE STAR
CH 2 REVERB CH 1
REVERB
BRIGHT
REV WARM
ALL - TUBE
AMPLIFIER

PAGE 14
REAR PANEL: Controls & Features (Continued)
SPEAKER:
The
Lone Star Special
provides one OPTIONAL / 35 WATTS (8 ohm) and two MAIN /30-15-5 (4 ohm) speaker
outputs and this enables you to use many different combinations of speaker setups. The MAIN jack is preferred for most vintage
inspired sounds where a smoother, warmer character will be noted in all three power selections and an impedance correct match
will be achieved for the 15 and 5 watt selections and a slight mismatch will occur in the 30 watt
setting where maximum power will be about 30 watts. Using the OPTIONAL jack will produce a
correct match for the 30 watt selection boosting overall power to about 35 watts and producing
a slight mismatch in the 15 and 5 watt settings (which is fi ne and may be preferable) giving all
three selections a little more punch in the midrange frequencies.
The 1x12 combo uses an 8 ohm speaker while the 2 x 12 combo uses two 16 ohm speakers
wired in parallel and this harness connects to the OPTIONAL (8 ohm) speaker output. You should
experiment with different loading conditions as there may be a certain impedance mismatch that
produces a sound you may prefer to the correct load condition. This will not hurt the amplifi er,
however mismatching a lower impedance speaker in a higher jack will wear the power tubes faster. There are sample speaker wiring
diagrams later in this manual. You may fi nd it benefi cial to browse this section to understand more about different ways you can use
your
Lone Star Special
with alternate speaker combinations. We build many different types of Extension Speaker Cabinets, all with
unique characteristics, as well as a line of matching
Classic
cabinets to enhance both the sound and the appearance of your new
Classic cabinets to enhance both the sound and the appearance of your new Classic
Lone Star Special
.
SLAVE:
The
SLAVE
Output and its accompanying Level control provide an output for capturing the sound of both preamp and
power section. This feature may be used to drive additional slave power amplifi ers for big venue applications or to drive a string of
outboard processors when using the EFFECTS LOOP is not desirable. It is not a direct recording output as it derives its signal from
the speaker jacks and is much too strong a signal to connect to the input of a console. Also there
is no roll off of high frequencies or shaping, as the speaker does this, so the sound would be less
than desirable for recording applications. Should you need a direct recording sound, check out
one of our Rectifi er Recording Preamp’s which are designed specifi cally for this application and
has the necessary circuitry to achieve this diffi cult task with stunning results.
NOTE:
The signal from the
SLAVE
Output is powerful. Always start with the LEVEL control set
to its lowest position (7:00) when connecting to anything and bring the level up slowly to avoid
damaging gear (and ears) downstream of the
Lone Star Special.
NOTE:
Once a signal has been taken from the
SLAVE
Output, it can not be routed back into the amplifi er (INPUT or EFFECTS
LOOP RETURN). Doing so will produce a feedback loop resulting in a high pitched squeal much like holding a microphone up to a
monitor.
REVERB REMOTE JACK:
The Reverb feature contains a
REMOTE SWITCH JACK
that allows you to control the Reverb
effect from a separate footswitch. The 1/4” jack is located on the underside of the chassis just below where the SLAVE jack is located
on the extreme right side of the Back Panel. Connecting any tip-to-ground, latching-type footswitch will allow
you to toggle on and off the Reverb effect. Use a shielded cable for this application. You should be able to
fi nd this type of footswitch at most music stores or, you can call our Customer Service department and order
one for a nominal charge.
If you have any questions or concerns unanswered in this guide, please feel free to call our Customer Service
department and ask for a Product Specialist who will be glad to help you get the answers you need.
Cheers and Enjoy!
SLAVE
SPEAKERS
OPTIONAL
FOR 35 WATTS
MAIN OUT
FOR 30-15-5 WATTS
SLAVE
SPEAKERS
OPTIONAL
FOR 35 WATTS
MAIN OUT
FOR 30-15-5 WATTS
SLAVE
ERS
OUT
FOR 30-15-5 WATTS
REMOTE FTSW
JACK

PAGE 15
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN TREBLE MID BASS PRESENCE MASTER
NOR
FACTORY SAMPLE SETTINGS
SAMPLE # 1
SAMPLE # 2
SAMPLE # 3
SAMPLE # 4
INPUT
FT.SW
GAIN TREBLE MID BASS PRESENCE MASTER
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
INPUT
FT.SW
GAIN TREBLE MID BASS PRESENCE MASTER
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
LONESTAR STATE
CLEAN CLONES
TWANG & BANGIN'
PURR & GRIND
GAIN TREBLE MID BASS PRESENCE MASTER
STANDBY
POWER
ON
ON
STANDBY
POWER
ON
ON
STANDBY
POWER
ON
ON
STANDBY
POWER
ON
ON
30 WATTS
5 WATTS
15
30 WATTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO

PAGE 16
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
GAIN TREBLE MID BASS PRESENCE MASTER
NOR
FACTORY SAMPLE SETTINGS
SAMPLE # 6
SAMPLE # 7
SAMPLE # 8
INPUT
FT.SW
GAIN TREBLE MID BASS PRESENCE MASTER
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
INPUT
FT.SW
GAIN TREBLE MID BASS PRESENCE MASTER
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
BARBEQUE
AUSTIN - TACEOUS
ARMADILLO
SAMPLE # 5
INPUT
FT.SW
DRIVE
CH 1
FT SW
CH 2
THICK
THICKER
CLEAN
MAL
NOR
PASS THE SAUCE
GAIN TREBLE MID BASS PRESENCE MASTER STANDBY
POWER
ON
ON
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
STANDBY
POWER
ON
ON
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
STANDBY
POWER
ON
ON
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO
STANDBY
POWER
ON
ON
30 WATTS
5 WATTS
15
30 WA
TTS
5 WATTS
15
P U R E C L A S S A P O W E R
OUTPUT LOOP ON SOLO