Mesa/Boogie Three Channel Dual & Triple Rectifier Solo... User manual

1317 Ross Street Petaluma, CA 94954
USA
The Spirit of Art in Technology
OOGIE
B
MESA

Hello from the Tone Farm...
YOU, the smart player and all around intuitive human, have put your trust in us to be your
amplifier company. This is something we do not take lightly. Our reward is that we've made
a classic amplifier and by choosing this amplifier, you have become part of the MESA
f
amily...Welcome! Our goal is to never let you down. Your reward is that you are now the
owner of an archetypical guitar amp bred of fine all tube amp heritage...benefiting from the
many patented pioneering MESA/Boogie 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
f
ine musical instrument and the commitment it takes to make great music. The same
commitment to quality, value and support we make to you...our new friend.

Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
Do not expose amplifier to moisture, rain or water, direct sunlight
or extremely high temperatures.
Always insure that amplifier is properly grounded.
Always unplug AC power cord before changing fuse or any tubes.
When replacing fuse, use only same type and rating.
Avoid direct contact with heated tubes.
Insure adequate air circulation behind amplifier.
Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power
supply specifications listed on the rear of the unit.
If there is any danger of lightning occurring nearby, remove the
power plug from the wall socket in advance.
To avoid damaging your speakers and other playback equipment,
turn off the power of all related equipment before
making the connections.
Do not use excessive force in handling control buttons, switches
and controls.
Remove the power plug from the AC mains socket if the unit is to
be stored for an extended period of time.
Do not use solvents such as benzene or paint thinner to clean the
unit. Wipe off the exterior with soft cloth.
Be sure to have the warranty card for this product filled out by the
store at which it was purchased and return to MESA Engineering.
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.

TABLE OF CONTENTS
Precautions
FRONT PANEL Description and Usage
Volume
Treble
Mid
Reverb
Master
Bass
Page #
0
1
2
4
4
3
3
4
3
4
4
REAR PANEL Description and Usage
Fuse and Ground Select
Footswitch / Reverb
Rectifier
Send & Return
FX Mix
Slaving
Rhythm Voice
Channel Select
Speaker (impedance matching)
Factory Sample Settings & Personal Settings
Tube Maintenance
Tech Talk, an article by Randall Smith, President of Mesa/Boogie
Maverick Parts Sheet
Output Level
Toggle Switches
Power
6
7
7
5
5
5
6
8 & 9
6
7
7
10 & 11
12,13 & 14
15

Operating Instructions
Your MAVERICK amplifier was designed to deliver maximum performance in a format based on simplicity. Its easy to dial nature
allows each of the two channels to deliver a wide range of sounds in both clean and overdrive styles. The MAVERICK uses four
EL84 power tubes running Pure Class A and a 5AR4 Rectifier tube to fuel its healthy thirty-five watt power section. We are pleased by
its surprising headroom, yet truly musical “clipability” when pushed. The MAVERICK’S pre-amp was no afterthought as you may
have deduced by the six 12AX7s tucked snugly away under the swing away tube clamp. Two separate sets of tubes are used to
accomplish the Rhythm and Lead channels. It’s really like having two separate amplifiers built into one chassis. Ultimate flexibility is
achieved by providing two complete sets of Tone and Master controls. Two different sounds can be switched between without compro-
mising tone or levels.
Looking to the Rear Panel assures that all your interfacing needs are covered. Aparallel Effects Loop with a Mix control provides tone
insurance for even those questionable effects. To use the MAVERICK in larger rack systems, or to interface to other power sec-
tions, the Slave Jack and Level Control is a welcome feature. Three speaker jacks (one 8 ohm, and two 4 ohm) are provided to ensure
the proper impedance match to many types of speaker enclosures. The Reverb can also be footswitched in or out.
As you can see, the MAVERICK provides all the features any demanding pro could need and at the same time remains simple to
operate.
Overview:
OUTPUT
LEVEL
INPUT
FOOT
SWITCH
TREBLE MID BASS REVERB
VOLUME
PURE C LASS A POWER
POWERSTANDBY
ON ON
MASTER
FRONT VIEW MAVERICK
REAR VIEW MAVERICK
RETURN
SEND
GROUND
A OFF B
FX MIX
0% % 100
SLAVE
8 OHM 4 OHM 4 OHM
SPEAKERS
FAT LEAD
BRIGHT RHYTHM
RHYTHM
VOICE
CHAN.
SELECT
2A SB
FUSE
1A
REV. FT SWITCH
FX LOOP
RECTIFIER
VACUUM
TUBE
(NORMAL)
SOLID
STATE
(HI PWR)
C LASS A P OWER
MESA BOOGIE LTD.
HANDBUILT IN PETALUMA, CA.
PAGE 1

First familiarize yourself with the layout of the Front Panel and locate the LEAD/RHYTHM switch on the rear right side of the chassis.
This switch allows you to select either the top (RHYTHM) channel or the (LEAD) channel. If you don’t have the RHYTHM/LEAD
footswitch connected, this switch will activate the channel switching function. Before we get too specific about each control, let’s
audition the two channels with a basic clean setting in the RHYTHM channel and a medium gain overdriven sound in the LEAD
channel.
Connect your favorite guitar to the instrument input jack. Turn the POWER switch “ON” while leaving the STANDBY switch set to
“STANDBY”. It’s always a good idea to practice this start up procedure, as at least 30 seconds of warm-up time lessens the shock on
cold power tubes, thus prolonging their life substantially. Next, set the controls per this example below:
Flip the STANDBY Switch to the ON position and listen to the two channels using either the footswitch or the Channel Select toggle
switch found on the Rear Panel. Again, these are merely examples of the two channels. Experimentation leads to finding many
different sounds in each channel, and understanding the controls and the way they interact can make this much easier and more fun.
Now that you have heard the MAVERICKS’S two channels, let’s move on to understanding the controls and their interactive roles
in achieving the sounds that you want to hear.
This is by far the most powerful control in each channel. It not only determines the overall Gain amount, shape and sensitivity of the
channel...but it is also a powerful Tone control. Generally speaking, whatever is dialed here ultimately determines the channels
personality. Set low, it allows cleaner, brighter sounds with enhanced dynamic response, especially
in the higher frequencies. Set high the whole personality of the channel becomes darker, fatter and
more overdriven. In the MAVERICK we worked hard to make sure the entire range of Gain available
is usable and more importantly, musical.
Don’t think for a moment that this simple one knob layout limits you as to the amount and texture of gain.
Long neurotic hours were spent to ensure the ranges of gain were stylistically accurate. It’s probably a
good time to mention that most of the great sounds can be found by by setting the VOLUME control
moderately, especially in the LEAD channel...for example, somewhere between thru . In the RHYTHM channel, try setting this
control somewhere between thru . Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever
occuring, while at the same time making the two channels easier to balance in volume level and effects send strength.
FRONT PANEL:
POWER-UP:
OUTPUT
LEVEL
INPUT
FOOT
SWITCH TREBLE MID BASS REVERB
VOLUME
PURE CLASS A POWER
POWERSTANDBY
ON ON
MASTER
VOLUME: (GAIN)
INPUT
FOOT
SWITCH
VOLUME
CONTROLS:
PAGE 2

As with most guitar amplifiers, the TREBLE control is the strongest of the three rotary tone controls. Its setting on the MAVERICK
determines the blend and strength of the MIDDLE and BASS controls. Set high, it is the dominant control, mini-control, minimiz-
ing the amount of MID and BASS that would be possible in the mix. Set low, the TREBLE
becomes the recessive control and a warmer, darker blend is produced. Dial with care. Subtle
tweaking of this control tends to produce the best results.
Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost. In the MAVERICK a third dirty rhythm
sound was made possible by the inclusion of the RHYTHM CHANNEL’S dual purpose MID Control. From to about the taper
is adjusted to act as a very effective MID control. As you increase the MID to and
above, you will hear the lower Mids getting more pronounced and fatter.
At about the MID leaves behind the old notion of being a tone control and be-
comes a truly usuable gain control. This upper range is a smokin’ addition to the
RHYTHM channel’s VOLUME (Gain) control for all kinds of higher gain rhythm sounds.
Try the MIDRANGE control set high and the VOLUME (Gain) control at about
for a cool blues solo sound. If this still isn’t crazy enough for you...Max the VOLUME
(Gain) and TREBLE controls and plug into a 4x12 with some Celestion Vintage 30’s or
25’s. This should be sufficently grinding for all you crunch fiends. As you can see, the
versatility that this dual purpose MID control lends to the RHYTHM channel greatly expands its usefulness as both a clean and
overdrive channel. The LEAD channel uses a normal (non-boost) MIDRANGE control as there’s no need for added gain. In other
words, what you find in the top channel’s MIDRANGE control from through is spread out across the entire range of the control
in the bottom channel.
NOTE: The lower region of the MID control determines midrange punch and boldness in lower gain sounds and a smooth vocal blend
in high gain sounds. It can be very effective acting as a “cut through the band control” in certain situations. Dial to taste, remembering
that the setting of the TREBLE control greatly effects this control’s strength.
This control blends in the lower frequencies, and its effectiveness, again, depends on the setting of the TREBLE control. It should be
set with moderation, as extreme settings in either low or high directions can produce an unbalanced tone. Be “especially”especially
careful in higher VOLUME settings of either channel. Too much Bass will cause a flabby unfocused sound that can’t be dialed out
because excessive Bass has been introduced to the pre-amp in the early stages.
Try setting the BASS control to for clean sounds in the RHYTHM channel
and or below when dialing up high gain overdriven sounds in this channel.
In the LEAD channel, try setting the BASS control somewhere between and
.
These settings will vary with the amount of VOLUME and TREBLE you have
dialed up.
FRONT PANEL (Continued)
TREBLE:
VOLUME TREBLE
INPUT
FOOT
SWITCH
MIDRANGE:
VOLUME TREBLE MID
INPUT
FOOT
SWITCH
BASS
:
VOLUME TREBLE MID BASS
INPUT
FOOT
SWITCH
PAGE 3

The MAVERICK has an individual REVERB control per channel. This enables different amounts of the rich ALL TUBE REVERB to
be mixed with the dry signal of each channel. It is normal for
extreme settings of the REVERB control to slightly alter alter
the character of the channel as the voicing of the REVERB
circuit becomes more dominant in the mix.
The individual channel MASTER controls serve two purposes in the layout of the MAVERICK. FIRST: They serve as level
balancing controls for each of the two channels. This enables a wide range of front end gain settings to be matched to a given listening
level and the level of the other channel.
SECOND: They act as effects send controls for
each channel in the Effects Loop. As with many of
the controls on the MAVERICK, the best results
for balance and tone are usually found in the me-
dium range of this control.
This lonely knob is the MAVERICK’S final Output knob or overall master. After the relative balance of the two channels has been set
with the channel MASTER controls, use this OUTPUT control to increase or decrease the listening volume. It is also the effectsreturn
level control, a point we thought you should know. This design element makes setting up a lot easier and
gives you one less knob to deal with when interfacing to your favorite effects. Optimum setting depends
on the size of the room you wish to rock, but generally the MAVERICK sounds best with a setting
somewhere between and on the OUTPUT LEVEL control.
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 switch the STANDBY switch to the “ON” position. This prevents tube
problems and increases their toneful life substantially.
This switch delivers the A.C. power to the MAVERICK. Make sure the unit is grounded (all three terminals of the A.C. 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 above section.
FRONT PANEL (Continued)
REVERB:
INPUT
FOOT
SWITCH
VOLUME TREBLE MID BASS REVERB
MASTER:
INPUT
FOOT
SWITCH
MASTER
VOLUME TREBLE MID BASS REVERB
OUTPUT LEVEL:
OUTPUT
LEVEL
TOGGLE SWITCHES
ON / STANDBY:
POWER:
PAGE 4

This is the A.C.’s (Alternating Current) main fuse and provides electrical current 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 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 toggle switch section and watch the four EL84 tubes as you flip the
STANDBY switch 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 extra safe you may want to replace all power tubes in the “shotgun troubleshooting tradition
and save the replaced sets as spares.
NOTE: Like tires on a car, spare tubes and fuses are always a measure of good insurance. Your MAVERICK was carefully
constructed with reliability in mind! Given the proper care and maintenance, it will deliver years of trouble free service. However, any
pro guitarist who is out there gigging will tell you; spare tubes and fuses are a must for the fabled cord bag and may be worth their
weight in gold some day.
This switch reverses the polarity of the A.C. ground. It can be helpful in eliminating annoying hum or A.C. buzz as well as those painful
microphonic shocks. It should be left in the center OFF position when neither of these problems are occurring.
This 1/4” jack allows you to control the Reverb remotely when a cable and Mesa Dual Footswitch are connected. This footswitch is an
option and can be ordered by calling us direct, or by contacting your nearest Mesa/Boogie Pro Center.
RETURN
SEND
FX MIX
0% % 100
8 OHM 4 OHM 4 OHM
SPEAKERS
SLAVE
FAT LEAD
BRIGHT RHYTHM
RHYTHM
VOICE
CHAN.
SELECT
FX LOOP
GROUND
A OFF B
2A SB
FUSE
1A
REV. FT SWITCH
RECTIFIER
VACUUM
TUBE
(NORMAL)
SOLID
STATE
(HI PWR)
C LASS A P OWER
MESA BOOGIE LTD.
HANDBUILT IN PETALUMA, CA.
REAR PANEL:
FUSE:
GROUND:
GROUND
A OFF B
2A SB
FUSE
1A
REV. FTSW:
GROUND
A OFF B
2A SB
FUSE
1A
REV. FT SWITCH
PAGE 5
2A SB
FUSE
1A

This patented switchable feature allows you to select between two different types of rectifiers for different sounds and feel. It first
appeared on our Dual Rectifier Solo Head and is, in fact, part of the magic behind the whole Dual Rectifier series of amplifiers. It has
since found its way into some of our other products as well, such as the TREM-O-VERB, BLUE
ANGEL and now the MAVERICK. Voodoo and versatility have been added to these products by
the inclusion of this cool and patented Mesa Engineering feature.
SOLID STATE (HI POWER) calls up the silicone diode rectifiers offering more punch, a tighter attack
with added brightness and substantially more headroom. This would be the preferred position for loud
clean playing or tight rhythmic playing in the Lead channel with a high front end Volume setting (high
gain.)
The VACUUM TUBE (NORMAL) position takes a power section walk down memory lane, paying tribute to those vintage gems of
yesteryear. In those early days of amplification, the only rectifiers available were tubes. Unbeknownst to their creators, these sweet
sounding amplifiers would someday become neglected relics as the demand for higher volumes and more power per package led to
the abandonment of the tube rectifier in favor of the five cent silicone diode’s greater efficiency. With this decision went much of the
sweetness and soul, and by the mid 70’s, most amps were loud and efficient, but unfortunately...usually harsh.
We wanted the Dual Rectifier series to capture that “thing” that you “can’t quite put your finger on...but you know it when it’s got it.”
Soul, Personality and Feel. The VACUUM TUBE position gives you a sweetness of sound and a very liquid feel that simply cannot be
duplicated in any other way. This position shines for single note lead work in either channel and recreates that oh-so-soulful clean
sound in the RHYTHM channel that was previously unavailable in all but the best vintage amps. If you are like most of the players we
know, you’ll probably end up leaving your MAV set to the VACUUM TUBE position, but regardless of your preference the RECTIFIER
Select switch gives you options that you won’t find anywhere else and versatility that makes the MAVERICK a born vintage
performer in any stylistic arena.
These two 1/4" jacks are the patch point for external effects. The EFFECTS LOOP is wired in parallel with the normal signal. Connect
the SEND jack to your Effects Input jack. Connect the RETURN jack to the Output jack of your effect. The EFFECTS LOOP is a patch
point between the pre-amp and power section. Therefore, the RETURN jack can double as a
“Power Amp Input” jack.
This control determines the dry/wet blend of the FX Loop signal in relation to the unaffected signal. Set to 0% you will experience only
the dry signal (no effect) and at a setting of 100% the entire signal will be wet (total effect.) For the best results...Set the mix of your
effect to 100% wet. Then dial in the amount of effect that you wish to hear,
starting at 0% with the FX LOOP MIX control. The drier (closer to 0%) signal
you use, the better your tone should be. This is one of the advantages in hav-
ing a parallel type FX Loop designed into your MAVERICK amplifier...this
circuit allows the amplifier to retain its purity with the least possible degradation
due to effects impedance mismatching.
REAR PANEL: (continued)
RECTIFIER:
GROUND
A OFF B
2A SB
FUSE
1A
REV. FT SWITCH
RECTIFIER
VACUUM
TUBE
(NORMAL)
SOLID
STATE
(HI PWR)
FX LOOP: SEND / RETURN:
RETURN
SEND
2A SB
FUSE
1A
REV. FT SWITCH
RECTIFIER
VACUUM
TUBE
(NORMAL)
SOLID
STATE
(HI PWR)
GROUND
A OFF B
FX MIX:
FX MIX
0% 100 %
RETURN
SEND
2A SB
FUSE
1A
REV. FT SWITCH
RECTIFIER
VACUUM
TUBE
(NORMAL)
SOLID
STATE
(HI PWR)
GROUND
A OFF B
FX LOOP
PAGE 6