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

OOGIE
B
MESA
Owner's Manual

Greetings from the Home of Tone
Congratulations on your choice of the ROADKING as your Guitar amplifier and
welcome to the MESA/Boogie family! As a discriminating player you probably know
that you have purchased the most comprehensive instrument for amplifying Guitar
that is available. What you might not realize is that this entitles you to all the
experience, resources and commitment our twenty-five years of service to musicians
world wide has to offer. Our responsibility is to help you sound great! So, if at any
time you feel you need help or direction, we are here for you...a phone call away.

Table of Contents
Precautions
___________________________________________________________________________________
0
Overview
____________________________________________________________________________________
1-2
Getting Started
________________________________________________________________________________
3
Helpful Hints
________________________________________________________________________________
3-4
MODES: Ch 1 & 2 Clean
_________________________________________________________________________
5
Ch 1 & 2 Fat
___________________________________________________________________________
5
Ch 1 Tweed
____________________________________________________________________________
5
Ch 2 Brit
______________________________________________________________________________
6
Ch 3 & 4 Raw
__________________________________________________________________________
6
Ch 3 & 4 Vintage
_______________________________________________________________________
6
Ch 3 & 4 Modern
_______________________________________________________________________
7
CONTROLS:
GAIN
_________________________________________________________________________________________
7
TREBLE
______________________________________________________________________________________
8
MID
________________________________________________________________________________________
8-9
BASS
_________________________________________________________________________________________
9
PRESENCE
____________________________________________________________________________________
9
MASTER
_____________________________________________________________________________________
10
OUTPUT CONTROL
_________________________________________________________________________
10-11
SOLO CONTROL
______________________________________________________________________________
11
HI VOLTS & AC MAINS SWITCHES
________________________________________________________________
11
SLAVE
_______________________________________________________________________________________
12
SPEAKER OUTPUT BANK A+B - Cabinet Switching
_________________________________________________
12
REVERB
_____________________________________________________________________________________
13
CHANNEL STRIPS
_____________________________________________________________________________
13
PROGRESSIVE LINKAGE
_______________________________________________________________________
13
SELECTING POWER TUBE ARRAY
____________________________________________________________
14-19
RECTIFIER SELECT with TUBE-TRACKING
________________________________________________________
20
SPEAKER A/B & A+B SELECT SWITCH
___________________________________________________________
21
FX LOOP SWITCHES & CONTROLS
______________________________________________________________
21
EXTERNAL TRIGGER
__________________________________________________________________________
21
FX LOOP & PATCHING and EXTERNAL SWITCHING
______________________________________________
22-23
POWER: SPONGY & BOLD
_____________________________________________________________________
23
FUSE and SERIAL NUMBER
_____________________________________________________________________
24
FACTORY SAMPLE SETTINGS
________________________________________________________________
25-28
DIAGNOSING TUBES & TUBE MAINTENANCE
___________________________________________________
29-33
SPEAKER HOOK-UP & IMPEDANCE MATCHING GUIDE
___________________________________________
34-39
FEATURE ARTICLE: Irishmen, Pentodes & Triodes by Randall Smith
________________________________
40-42
TUBE LAYOUT & PARTS SHEET
______________________________________________________________
43-44
FRONT PANEL:
REAR PANEL:

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:
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
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.
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 choosing the
Congratulations on choosing the Congratulations
Mesa Dual Rectifi er Road King
as your amplifi er and welcome to the
Mesa Dual Rectifi er Road King as your amplifi er and welcome to the Mesa Dual Rectifi er Road King
Mesa/Boogie
Family! By
Mesa/Boogie Family! By Mesa/Boogie
choosing this all-tube hand-built instrument you have taken a step into the future of guitar amplifi cation, for as you can see at a glance,
the
Road King
is more than just an amp. It’s a
Road King is more than just an amp. It’s a Road King
collection
of amps
housed in one chassis that we refer to as an Advanced Amplifi er
of amps housed in one chassis that we refer to as an Advanced Amplifi er of amps
Array. This arsenal of sounds is so powerful that with them at your command, inspiration will take over and propel your playing to
places you have only dreamed. Let’s take a moment and review the features that make up this house of tone.
First and foremost it will help you to digest this dictionary of amazing guitar sounds by realizing that, as daunting as it looks, it is re-
ally just four separate amps. If you view it as such and learn them individually and
then
combine and dedicate them, you will fi nd the
then combine and dedicate them, you will fi nd the then
process easier. Each Preamp Channel on the Front Panel has a corresponding Power Amp/Effects Loop Control Panel on the Rear
Panel (we call them Channel Strips). Once you have chosen a Channel/Mode combination for a sound, you simply go to the Rear
Panel and select that Channels’ power amp choice (any 1 of 5 selections), choose your Rectifi er Style and program your Effects Loop
choices. There you go, one channel done…repeat this scheme three more times and you are ready to explore your fi rst palate of
sounds in the
Road King
. Rest assured, many more combinations are lurking in there and you can look forward to years of discovery
Road King. Rest assured, many more combinations are lurking in there and you can look forward to years of discovery Road King
as you go deeper. In case that was too simple sounding, here is a more expanded way of understanding the
King
Four independent preamp channels make up the front end of the
Road King
and though they may each be used for any sound,
Road King and though they may each be used for any sound, Road King
they are grouped as two sets of lower gain Rhythm Channels (1 & 2) and two sets of high gain Lead Channels (3 & 4). The two sets
are stacked with the lower gain rhythm channels following the Input jack. Each of these channels house 3 different modes, which are
voiced differently and in certain cases have different gain structures. You’ll notice the modes are duplicated in the two types of channels
(excepting one in each Rhythm Channel) which makes it possible to use the them for different settings of the same sound.
Operating Instructions
OUTPUT SOLO
CH1 CH3
FX
LOOPS GAIN TREBLE MID BASS PRESENCE MASTER
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
AC MAINS
ON
HI VOLTS
ON
2xEL342x6L6 2x6L6
PROGRESSIVE LINKAGE RECTIFIER TRACKING
DIODES5U4 5U4
CLEAN
TWEED
FA
T
CLEAN
BRIT
FAT
GAIN TREBLE MID BASS PRESENCE MASTER
FRONT VIEW : COMBO
Road King
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
BOLD SPONGY
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
POWER FUSE
FUSE
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
SEND 1
ROAD
KING
CH4 CH3 EXT.
SWITCH CH2 CH1
SOLO REVERB LOOP 1 LOOP 2
WARNING: To reduce risk of fire or
electric shock, replace fuse with
same type and rating only. Do not
expose this unit to rain or moisture.
WARNING:
To reduce risk of fire or electric
shock, Do not remove cover. No user-
serviceable parts inside. Refer
servicing to qualified personnel.
LOOP SYSTEM
ACTIVE
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
RETURN 1
NORMAL NORMAL
10% 90%
SEND LEVEL FTSW MIX
FTSW MIX
SEND 2 RETURN 2 EXT. TRIGGERS
L
A
T
C
H
I
N
G
P
U
L
S
E
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 4
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 3
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 2
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 1
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
LEVEL
OUT
SLAVE
CAUTION: USE SHORTING PLUG IF NO SPKRS IN B
4 OHM4 OHM8 OHM
COMBO
SPEAKERS
USE WITH TWO 8 OHM CABS
A
B
CH 3 CH 1
CH 2CH 4
REVERB
OOGIE
B
MESA
REAR VIEW : COMBO Road King

PAGE 2
This allows the
Road King
to be many amps to many players and roam confi dently between extremely
Road King to be many amps to many players and roam confi dently between extremely Road King
different musical styles while retaining the ability to focus in on any one and offer a multitude of great sounds for a specifi c genre. For
example, a Blues player might dial up 1 & 2 for different clean sounds using the same mode for both chording and solo fi lls, while 3
4 provide different levels of the same lower gain solo sound. Conversely, a Rock player might confi gure 1 & 2 for semi-clean and
pushed rhythm sounds respectively and dedicate 3 & 4 to high gain crunch rhythm and lead sounds using different settings of the
same modes.
This type of preamp versatility means you will never have to compromise, even when you change bands or venture into a new and
different style with your playing…and you’ve chosen an amp that will grow with you.
This awesome preamp power is then sent to the
Road Kings’
Effects Loop section and we have provided two Series Loops to assure
Road Kings’ Effects Loop section and we have provided two Series Loops to assure Road Kings’
a match to whatever type of processing you choose. These may be used individually or combined, and may be programmed active in
any of the channels or, footswitched in and out on the fl y.
From there we reach the coolest feature of all and the reason why the
Road King
is just that…our patented Progressive Linkage
Road King is just that…our patented Progressive Linkage Road King
switchable, and in this case assignable, power section. That’s right, any of the 4 preamps can be combined with any one of the 5 power
section confi gurations! You choices are the bubbly, elastic 2 x 6L6; the urgent, brash 2 x EL34; the tight, bold 4 x 6L6; the elusive,
stinging 2 x 6L6 + 2 x EL34; and the huge, dominating power of 4 x 6L6 + 2 x EL34.
Each of these power confi gurations lends its own personality and when matched with the right preamp can sonically defi ne a musi-
cal style. But it doesn’t end there…the
Road King
also features Rectifi er Tracking, a feature which automatically matches the type
Road King also features Rectifi er Tracking, a feature which automatically matches the type Road King
of rectifi cation for each of the preamp / power sections you have confi gured. This means you can tune the power feel even further
to the sound you are creating. You might want a lower wattage clean sound with the loose, airy feel of Tube Rectifi cation and a high
gain lead sound with higher power and the tight tracking bass response of the Solid State rectifi er or vice versa. Many combinations
are possible and the best part is that Rectifi er Tracking follows your choices in power sections to always mate the proper amount of
rectifi cation for a given string of tubes. For example, if you are using either 2 x 6L6 or 2 x EL 34 and you choose Tube rectifi cation,
1 x 5U4G will be applied. If you use either 4 x 6L6 or 2 x 6L6 + 2 x EL34 2 x 5U4G will be used. And fi nally, if you choose to run all
six power tubes (4 x 6L6 + 2 x EL34) then the Silicon Diodes will be called up, ensuring that you have maximum headroom at all
times. This Rectifi er Tracking feature provides one more layer of focus to an already mindbending array of sounds to create the most
expressive amplifi er available anywhere.
And if this versatility isn’t enough, add to the palate Programmable Channel-specifi c Speaker Switching! That’s right, you can utilize two
different types of speaker enclosures to enhance different sonic characteristics and combine these choices with each Channel/Mode
scheme. Use an open back 2 x 12 cabinet for more shimmering clean performance and switch to a closed back 2 x 12 for a bigger,
more compressed lead sound. There are even provisions for using two cabinets of different impedance loads…the choice is yours.
The
Road King
incorporates a rich, all tube analog Reverb. Controlled per channel with the Rear Panel Reverb controls, it may be
Road King incorporates a rich, all tube analog Reverb. Controlled per channel with the Rear Panel Reverb controls, it may be Road King
switched in and out via the
King Kontroller
.
Our SOLO feature is an additional Output Level control that is wired in parallel to the Output and provides a pre-assignable, footswitchable
boost for stepping out when it’s time to solo.
A built-in Variac, our patented SPONGY/BOLD switch, is also included which enables you to reduce the A.C. line voltage for a looser
feel and increased upper harmonic spread resulting in that
brown
sound that has the elusive sag.
brown sound that has the elusive sag.brown
And fi nally, to keep you in constant control of all the features aboard this vehicle of expression, we have supplied one of the mightiest
footswitches around…the
King Kontroller
. All possible Channels, Functions and Features are there for your instant access and
their status is monitored by LED illumination.
So with an overview of the basic layout of the
Road King
behind us, let’s get ready to play.
Road King behind us, let’s get ready to play.Road King
Overview: (Continued)

PAGE 3
1.)
After unpacking the amplifi er remove the plastic webbing from all of the tubes (including the preamp tubes behind the row of
power and rectifi er tubes) and make sure all tubes are seated fi rmly in their sockets.
2.)
Install the 5U4 Rectifi er tubes (if they are not already in place) by bending back the spring steel tube clamps just enough so that
the base of the tube will have to barely push the clamps out of the way as they go in. Be sure to line up the guide with the slot in
the socket, don’t force it…when it is lined up it will fi t in the socket easily. When the tube is lined up gently press the tube into the
socket while rocking it back and forth until it is seated.
3.)
Connect the 8 Pin DIN Footcontroller Cable to the female DIN connector located on the Rear Panel just under the Rotary Mode
Select Switch.
4.)
Connect your speaker enclosure(s) to the proper impedance SPEAKER OUTPUT jacks “A & B”. If only one speaker cabinet is
to be used make sure that the dummy plug connected to the chassis is connected to the “B” jack to prevent accidental output
transformer damage due to a “no load” scenario.
5.)
Connect the A.C. Power Cable to a grounded A.C. outlet.
6.)
Flip the A.C. Mains switch to the ON position and wait at least 30 seconds for the power tube fi laments to warm up with the HI
VOLTS switch in the down position. This cold start procedure prolongs tube life so try to follow it each time you power up the
amplifi er.
7.)
Turn the Front Panel OUTPUT control to zero before fl ipping the HI VOLTS switch to the ON position. This will prevent accidental
settings that are too loud for the room and your ears. These amplifi ers are LOUD and are capable of extreme volumes and should
be used with care to avoid damage to your hearing. Starting each power up with the OUTPUT control zero-ed help to eliminate
painful and/or embarrassing situations.
8.)
Flip the HI VOLTS to the ON position and enjoy your new realm.
1.)
The Rear Panel CHANNEL SELECT Rotary switch must be set to FOOTSWITCH to access either Channels or features via the
footcontroller.
2.) The OUTPUT and SOLO controls work only if the Effects Loop is active.
Switch out of the LOOP BYPASS position in the
EFFECTS LOOP section of the Rear Panel.
3.)
Should you select a Channel when the Cabinet Switching Feature is
not
being used and experience either low output or a bro-
ken-up or distorted signal, or no signal at all… Check that the SPKR ASSIGN mini toggle in that Channels’ Strip is
not
assigned
to SPKR “A + B” or “B”.
4.)
The SOLO Control is activated when the Footcontroller is connected to the FOOTSWITCH jack on the Rear Panel and the Ef-
fects Loop is taken out of LOOP BYPASS and activated. When the Footcontroller is not connected the SOLO control will have
no effect on the signal.
5.)
The SOLO feature can be used to set a volume level above that of the OUTPUT control setting. It will not allow a setting below
that of the OUTPUT control.
Getting Started:
Helpful Hints:

PAGE 4
6.)
The GAIN and TREBLE controls are the most powerful controls in all four channels. They should be used with taste and you will
fi nd that many of the best sounds are found with the controls set somewhere in their middle regions. Avoid setting the TREBLE
above 2:00 when the GAIN is maxed as the possibility of unwanted noise and squealing from microphonic tubes increases
dramatically above this setting.
7.
) You will notice a substantial volume increase when switching from either the RAW or VINTAGE modes to the MODERN mode
in Channels 3 & 4.When switching modes Always check your MASTER controls to avoid sudden volume increases. It is a good
practice when setting up your channels, to get in the habit of zeroing out the Channel MASTER control each time you switch
modes.
8.)
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 the 3 modes of Channels 3 & 4. Set higher it will add cut and brightness to the
sound and can be useful in keeping Bass response tight, especially at high GAIN settings when searching for crunch rhythm
sounds.
9.) Always keep the dummy shorting jack connected to the “B” SPEAKER OUTPUTS
when you are not using two sets of
cabinets for Cab Switching. This will protect the output transformer from damage should signal accidentally be sent to the “A+B”
or “B” OUTPUTS via the SPKR Program switch.
10.) Although Channels 3 & 4 contain duplicate modes, the PRESENCE controls are different and therefor settings and
sounds will not dial up exactly the same. CHANNEL 3 has been optimized for the RAW and VINTAGE modes
with a PRES-
ENCE control that peaks just above “very bright” and at the low end of the control gets truly round and squashed. This response
showcases the more warm and fury nature of these two modes.
CHANNEL 4 houses a much more powerful PRESENCE
control that has been optimized for the MODERN mode and will go to realms of top end that are frankly ridiculous.
However, up to the 2:00 region its’ more unbridled response makes the Recto MODERN mode a force to reckon with. Think of
the difference like this
; the entire range of CHANNEL 3’s PRESENCE control can be found below 10:00 on Channel 4’s
PRESENCE control.
It plays out like this; using MODERN IN Channel 3 will require a PRESENCE setting at the top of the range
and conversely,
using RAW and VINTAGE in CHANNEL 4 will require a very low PRESENCE setting.
NOTE:
CHANNELS 3 & 4:
Should you fi nd that you favor RAW and VINTAGE and never need the aggressiveness of MODERN. Or
CHANNELS 3 & 4: Should you fi nd that you favor RAW and VINTAGE and never need the aggressiveness of MODERN. Or CHANNELS 3 & 4:
the opposite, you favor the shredding cut of MODERN and have no use for the warmer nature of RAW and VINTAGE, it is possible to
duplicate the PRESENCE controls in CHANNELS 3 & 4 with a simple pot value change. However, before you call and have us send
you the part, we strongly recommend working with the two channels as they are. Much thought was put into how to maximize the
modes for the best performance under a broad range of styles. By spending some time exploring you may fi nd that you come to love,
and actually rely on, sounds you thought you had no use for. Such is the beauty of an amp that is capable of so much diversity.
14.
When switching Channels with Reverb applied or switching the Reverb itself in and out of the signal path with the Footcontroller, it
is normal to experience approximately 1-2 seconds of delay before the Reverb effect is mixed back in with the dry signal. See NOTE:
under REVERB in the Rear Panel section of this manual for more info.
Now that we have shared a few hints to make things easier, let’s take a look at the controls and modes.
Helpful Hints: (Continued)

PAGE 5
CHANNELS 1 & 2: CLEAN
This is the lowest gain circuit of the
Road Kings’
twelve modes and is optimized for producing bal-
Road Kings’ twelve modes and is optimized for producing bal-Road Kings’
anced pristine clean sounds. This mode is duplicated in CHANNEL 2 as it is extremely useful for many different
applications. For the best understanding of how to achieve a great sound in this mode, please refer back to
the GAIN control section of this manual. However, a great place to start is 12:30 or so on the GAIN control
with more sparkle available below this and more warmth apparent above...from there adjust according to your
guitars individual response.
Because of its more traditional architecture this mode also works extremely well for vintage style drive sounds.
By turning the gain all the way up, a beautiful old school solo sound is possible...especially with neck single coil
pick-ups. The TREBLE and MIDDLE controls can also add gain and sustain to this sound ( reduce Presence to
blend highs ), but you will probably want to run the BASS control below 10:30 to avoid fl ubbiness and preserve
a focused attack.
CHANNELS 1 & 2: FAT
This mode comes from our original
Mark 1 Boogie
and puts emphasis on the low mid and bottom end
Mark 1 Boogie and puts emphasis on the low mid and bottom end Mark 1 Boogie
and as a result the top strings of the instrument have more girth and width. This mode is duplicated in CHANNEL 2 is very useful for
a variety of sounds. The difference is wonderful for clean single note soloing where you need more body and
warmth behind the notes. Because this mode is very different from the CLEAN mode, it requires that you reset the
controls for balance. We suggest running the BASS control a couple notches lower, especially for chording.
It also helps to use the GAIN controls’ tonal infl uence (refer to GAIN in the controls section of this manual)
to achieve the best results with this mode. We like to set the GAIN somewhere between 10:30 and 12:00 for
chording as this brings out the sparkle and improves the headroom.
For single note clean soloing you can run the GAIN up around 1:00 – 2:00. If you are going for a pushed rhythm
sound with the GAIN all the way up, you will likely have to run the BASS below 9:30 to avoid fl ubbiness and
boom.
CHANNEL 1: TWEED
This mode appears in CHANNEL 1 only and is a variation on the CLEAN that appears in both channels.
Here we have emphasized the elastic, bouncy character of the low gain clean circuit to achieve a more vintage feel that has an ele-
ment of sag built in. This mode feels easier to play and you would swear there is less resistance on the strings…almost as if you were
using a lighter gauge set of strings, but it is just our treatment of the signal.
This characteristic can be enhanced even further by assigning this mode to the 2 x 6L6 power section
in CHANNEL 1’s Channel Strip. The bubbly nature of this lighter, brighter power feel mates perfectly
with the
TWEED
mode enhancing what is already a rubber band joy-ride to achieve one of our favorite
sounds in the entire amp.
And if you like this approach to clean sounds, be sure to check the beyond vintage feel by taking this
scheme a step further and selecting SPONGY on the A.C. POWER SELECT switch and knocking
the A.C. down for a truly soupy vibe. Whether you choose to utilize
TWEED
for these lower headroom
retro applications or, you want a high headroom sound with just a bit more resiliency, this mode is a
wonderful voice for any style of clean playing.
CHANNEL MODES:
CLEAN
TWEED
FAT
BRIT
FAT
CLEAN
CLEAN
TWEED
FAT
BRIT
FAT
CLEAN
CLEAN
TWEED
FA
T
BRIT
FA
T
CLEAN

PAGE 6
CHANNEL 2: BRIT
This mode appears in CHANNEL 2 only and, as the name implies, was inspired by the great sounding
amps of the 50s’ & 60s’ that were built in Great Britain. These classic amplifi ers were basically “upside down Leo circuits” but none
the less had a signature sound all their own, due largely to the fact that they were powered by the pentode available to them at the
time…the Euro style EL 34. This difference, along with minor value differences in the circuit, created a very different sound than the
tweed and black face amps born in the United States.
We have combined all the great qualities of several of these classic circuits to arrive at a sound that is pure
teabag. With emphasis on a lower region of Treble and more punch in the low mids, this mode is truly different
than the other modes in CHANNEL 1 & 2. It works extremely well for both chording and single note soloing with
its thicker, throatier nature. It also lends itself well to clipped sounds, with its less extended top end and wider
mid section, producing some of the coolest crunch rhythm sounds around.
Needless to say, the 2 x EL34 power section was born to serve this mode and when these two parts are used
together a level of character is unveiled that is the natural equivalent opposite to TWEED feeding the 2 x 6L6 power harness.
BRIT
also works very well with the combination power sections of 2 x 6L6 + 2 x EL34 and 4 x 6L6 + 2 x EL34. These two schemes are great
if you want the more urgent character of the ELs’ but need more headroom than they are capable of providing by themselves. The
choice is yours as to how best to use this very cool and different mode and we feel sure that, no matter how you decide to dedicate
your clean channels, you will fi nd the
BRIT
mode an awesome addition to your bevy of sounds.
CHANNEL 3 & 4: RAW
This new
Road King
mode is the lowest gain of the three in the two high gain lead channels. Its less
saturated nature greatly enhances the already versatile bag of sounds the two original lead channels offered. The range of gain avail-
able covers an extremely wide spectrum and it can be set to double as a formidable alternate clean mode, a low gain purring blues
sound and beyond, all the way up to a grinding crunch or searing solo sound.
The TREBLE can be set relatively high (2:00) to add a little more gain and shred when using
RAW
for certain crunch rhythm sounds and keep in mind CHANNEL 4 is capable of more aggressive
sounds due to its more extreme PRESENCE control taper. Don’t overlook the amazing medium gain
soloing potential
RAW
offers in CHANNELS 3 & 4 where, because of the PRESENCE controls more
gradual response, a wider range of voice-like single note sounds appear that benefi t from this more
compressed character.
CHANNEL 3 & 4: VINTAGE
This high gain mode is the famous liquid
Recto
voice and it can be found in its original state in
CHANNELS 3 & 4. Its lush harmonic content and fat creamy feel has found its way onto so many recordings, it is now a staple for
anyone headed to the studio for an album project. combining this super juicy, expressive preamp with
the
Rectos’
black magic, tube-rectifi ed power section creates colors in gain that most players fi nd truly
Rectos’ black magic, tube-rectifi ed power section creates colors in gain that most players fi nd truly Rectos’
addictive. Single note solo work is effortless as the strings become easy to play with
VINTAGE
modes
musical and natural tube compression. Spend time learning the lower regions of the
VINTAGE
mode
as the overlap between RAW and
VINTAGE
is a place where many beautiful sounds lie.
These two modes are similar enough when
VINTAGE
is set in its lower range and RAW is set in its
medium to higher range and yet, each posses a character that is unique and identifi able. Remember
that you can swap channels to achieve different voicings of the
VINTAGE
sound and no matter which
you settle upon, you will likely fi nd your trademark lead sound lurking somewhere in this sea of liquid
gain.
CHANNEL MODES: (Continued)
BRIT
FAT
CLEAN
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
MASTER
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
MASTER

PAGE 7
CHANNEL 3 & 4: MODERN
Aggressive. This is the word that best describes the menacing power of the
Road Kings’
most
rebellious of all modes and appears in its original form in CHANNELS 3 & 4. A take no prisoners, crushing assault of top end cut
and lightning fast response creates a sound of unparalleled aggression that has set a new standard
for hard core sounds.
The added tightness of the low end response combined with the radically more present top end keeps
the
MODERN
mode tracking accurately even at extreme gain settings. Keep in mind that when using
MODERN
in CHANNEL 3 you will have to run the PRESENCE control almost all the way up to ap-
proach the lower range of the PRESENCE control in CHANNEL 4.
This lack of extreme top end can be a benefi t when searching for single note solo sounds in the
MODERN
mode as the more compressed nature of this tamer presence range in CHANNEL 3 tends
to warm things up.
CONTROLS:
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
Road King
is really three separate multi-mode amplifi ers built onto one chassis, so though
Road King is really three separate multi-mode amplifi ers built onto one chassis, so though Road King
each channel looks identical, the
GAIN
control for each channel comes in a different place and
adjusts a different point in that channels 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
Road King
, the
Road King, the Road King
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
bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in all three channels. This region
contains many of the
Road Kings’
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. For this reason we suggest using this higher
region of the
GAIN
control sparingly and only when maximum sustain is needed.
CHANNEL MODES: (Continued)
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
MASTER
GAIN
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT

PAGE 8
NOTE:
NOTE: NOTE:
Due to the
Road Kings’
extreme gain potential, the highest regions of the
Road Kings’ extreme gain potential, the highest regions of the Road Kings’
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 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!
If you must for a specifi c part or at very low volumes, back down the TREBLE and PRESENCE controls. Your
Road King
was de-
signed 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 all four channels of your
Road King
) 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
Road King
, there is an optimum region of the
Road King, there is an optimum region of the Road King
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 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 of your new
Road
King
. In all 3 modes ( CLEAN, FAT & TWEED ), the
King. In all 3 modes ( CLEAN, FAT & TWEED ), the King
TREBLE
control can be used
to dump extra gain into the mix. This is especially effective in the TWEED mode 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 TWEED 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
Road King
. It is capable of changing the feel
Road King. It is capable of changing the feel Road King
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
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
even feel to the strings and even
therefore less apparent resistance to the pick. As the
MIDDLE
control is increased, ( 11:30 - 1:30 ) the sound is rounded-out and
GAIN
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
TREBLE
CONTROLS: (Continued)

PAGE 9
fi lled-in with a focused mid attack appearing rather quickly. As you would guess, the feel starts to change - becom-
ing more resistant. Above this region the
MIDDLE
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
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.
CHANNELS 1 & 2 utilize a different MIDDLE control than that of the CHANNELS 3 and 4
with a custom-designed taper and
value. In its low range ( below 12:00 ) it functions as a normal midrange control with a taper suited
to blending fi ne increments of these frequencies. Most players lean toward a fairly radical scoop (
7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus producing the
signature sparkle and breath essential for a pristine clean sound.
As the
MIDDLE
control in CHANNELS 1 & 2 are swept past 1:00, it quickly starts to add gain in these
midrange frequencies adding cut and punch. As the top end of the control is reached, ( 3:00 - 5:00 ) it
becomes an additional
gain control
capable of taking both CLEAN and TWEED modes to extremes.
gain control capable of taking both CLEAN and TWEED modes to extremes. gain control
Experiment with this cranked region in conjunction with conservative settings of the other tone controls
to balance both sound and feel. While this added fl exibility may make CHANNEL 1 & 2
MIDDLE
control
a little more tricky to learn at fi rst, it will become quite valuable as you start to realize the power of
this super versatile channel.
BASS:
This control works similarly in all four 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. Like the MIDDLE control, it falls in line
style of lows it mixes in changes from channel to channel. Like the MIDDLE control, it falls in line style of lows
signal-wise
after
the TREBLE control and the same scheme applies. When the TREBLE control is set
after the TREBLE control and the same scheme applies. When the TREBLE control is set after
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.
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
Road King
will
Road King will Road King
fi nd the
PRESENCE
control in its lower regions, where a balanced, vocal response is achieved.
Higher settings unleash the mighty roar of your
Road King
and this can be great for sparkling clean
sounds in Channels 1 & 2 and more aggressive crunch rhythm sounds in the high gain modes. Be
sure to taunt the beast that lurks in CHANNEL 3 MODERN as the
PRESENCE
is truly amazing in
this most agro mode.
CONTROLS: (Continued)
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
GAIN TREBLE MID
MID: (Continued)
CLEAN
TWEED
FAT
CLEAN
BRIT
FAT
GAIN TREBLE MID BASS
MID PRESENCEBASS

PAGE 10
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 the four channels relative volumes to be matched regardless of their
extremely 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,
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 the four
channels’ Effect Send level diffi cult.
OUTPUT CONTROL:
This is the overall
OUTPUT LEVEL
control for the entire amplifi er. It is located at the input to the power section
and allows you to raise adjust the playing level once you have used the individual CHANNEL MASTER controls to balance the level of
the four Channels. The
OUTPUT
receives its signal from the EFFECTS RETURN jacks of both LOOP 1 and LOOP 2 and therefor this
control is only in the signal path and active when the EFFECTS LOOP is set to LOOP
SYSTEM ACTIVE. When in LOOP BYPASS the individual CHANNEL MASTER controls
are the fi nal output level controls.
NOTE:
USING THE ROAD KING AS A POWER AMP ONLY
It is possible to use the
Road King’s
power section as a stand alone power amp for use
Road King’s power section as a stand alone power amp for use Road King’s
with external preamps, as half of a stereo power rig or, as a slave for another
Road
King
in larger venues. Here’s how;
King in larger venues. Here’s how; King
1.)
Connect your preamp signal to the EFFECTS RETURN jack of LOOP 1.
2.)
Select LOOP ACTIVE on the Rear Panel
3.)
Use the OUTPUT control as your power amp level control.
4.)
Adjust the PRESENCE control of the Channel you are using to taste.
5.)
Select a Channel and a power setting in that Channel.
All the Progressive Linkage Switching Power Functions will still work if you program power changes to the different CHANNELS and
then select channels with the Footcontroller. You do not have to use the switching feature, simply leave the
Road King
in one Channel
Road King in one Channel Road King
and select the power section you wish to use in that Channel Strip on the Rear Panel.
Keep in mind that all these different power sections will amplify a given preamp signal differently, so you
will
have volume differences
will have volume differences will
when switching around. This
may
actually fi t your needs and can be used to create some interesting power possibilities…especially
may actually fi t your needs and can be used to create some interesting power possibilities…especially may
if the Progressive Linkage Switching was used with a programmable tube preamp such as our
TriAxis
or another parallel with another
TriAxis or another parallel with another TriAxis
Road King
.
Road King.Road King
We recommend
not
using the MODERN mode of CHANNELS 3 & 4 for this application as the increased power sensitivity of this mode
due to the removal of negative feedback in the power section creates an extremely hard to manage power amp. If you wish to use all
four Channels when using the EFFECTS LOOP RETURN as a POWER IN jack we suggest using CHANNELS 1 & 2 in the CLEAN
CONTROLS: (Continued)
BASS MASTERPRESENCE
OUTPUT SOLO
2xEL342x6L6 2x6L6

PAGE 11
mode and CHANNEL 3 & 4 in the RAW mode. This will provide uniform input sensitivity and the
only volume difference you will experience are those caused by the output power of the different tube harnesses.
SOLO:
This control is an additional output control wired in parallel with the main OUTPUT that you can pre-set to a higher level
and then switch to during performances. A simple idea that adds amazing potential to virtually any sound in the amplifi er. Like the
OUTPUT control,
SOLO
gets its signal from the EFFECTS RETURN jacks of
LOOP1 and LOOP 2 and therefor it is only in the signal path and active when the
EFFECTS LOOP is set to LOOP SYSTEM ACTIVE. This control may be used to
step out for a solo or to compensate for other volume drops created by various
switching scenarios. One might be a processor in the one of the LOOPS that
you love the sound of, but steals gain from your signal when introduced via the
LOOP. However you choose to use this valuable feature,
SOLO
adds power and
versatility to an already mighty package.
NOTE:
As mentioned above, when using the
Road King
as a slave power amp
the
SOLO
control can be used to provide a footswitchable volume boost for the
power amp.
HI VOLTS:
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.
A.C. MAINS: (POWER ON)
This switch delivers the A.C. power to your new
Road King
. Make sure the unit is grounded (all three
Road King. Make sure the unit is grounded (all three Road King
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
Road King
.
Road King.Road King
Now that we have reviewed the Channels and their Modes we are ready to go aft and check out the treasure chest of features that
ride the Rear Panel.
CONTROLS: (Continued)
OUTPUT CONTROL: (Continued)
OUTPUT SOLO
2xEL342x6L6 2x6L6
PROGRESSIVE LINKAGE
AC MAINS
ON
HI VOLTS
ON
AC MAINS
ON
HI VOLTS
ON

PAGE 12
SLAVE:
This 1/4” jack and control provide a signal derived from the speaker jack. Perfect for using either the
Road King
head
Road King head Road King
version or combo as a master pre-amp and additional power amps for more power when needed. Some players use the
SLAVE
to
derive an FX Send Signal and go to other amps for their wet sound.
NOTE:
Once a signal is taken from the
SLAVE
, it can not be inserted back into the FX Loop Return jack or
SLAVE, it can not be inserted back into the FX Loop Return jack or SLAVE
a feedback loop will occur. Much like holding a microphone into a PA system’s cabinets...a loud high pitched
squeal will be the result.
SPEAKER OUTPUTS: Bank A & B - Cabinet Switching
These are the speaker output jacks and there are provisions for both 8
and 4 Ohm speaker loads. But as mentioned earlier, this is no ordinary amp…and these are no ordinary speaker outputs. The
Road
King
takes the footswitchable independent Channel concept a step further by providing two pre-assignable speaker outputs, enabling
King takes the footswitchable independent Channel concept a step further by providing two pre-assignable speaker outputs, enabling King
you to use two different types of speaker cabinets with the same power section. They can even be of different impedance’s! For
example you might want to use an open back cabinet with one type of speakers for your clean CHAN-
NELS 1 & 2, and switch to closed back cabinetry with a different type of speakers for you lead work in
CHANNELS 3 & 4. You can take this a step further and use both sets of jacks and combine them for
a specifi c channel so that both open and closed back cabinets are on at once for a truly huge sound.
These choices can be assigned per channel in the individual Channel Strips under
SPKR A/B
. Use any
cabinetry you like as the
Road King
is not particularly sensitive to speaker impedance mismatches,
other than decreasing headroom slightly or making your power tubes work a little harder.
However
, It Is Extremely Important To Keep A Load On The Output
Transformer At All Times!
Failure To Do So Will Damage
The Output Transformer And Void Your Warranty. For this reason we have included a Shorting Dummy Plug that we have attached
permanently to the chassis to prevent accidental “no load” scenarios. We ship this shorting jack connected the “B” SPEAKER OUT-
PUT so that if a channel is selected that is assigned to either the
“B” or “A & B”
OUTPUT choices, there will still be a load on the
Output Transformer.
NOTE:
Please make sure that the attached Shorting Jack is connected to the “B” SPEAKER OUTPUT jack at all times when not
using the Cabinet Switching Feature.
NOTE:
You will experience a brief second when both speaker cabinets will be active during a cabinet switching sequence. This is nor-
mal and necessary to protect the output transformer from damage due a possible “no load” scenario during the instant of switching
.
NOTE:
If you switch to a Channel when
not
using the Cabinet Switching Feature and experience low output combined with a broken
not using the Cabinet Switching Feature and experience low output combined with a broken not
up, distorted signal, or no output at all, check that Channels’ SPEAKER ASSIGN mini toggle to be sure that it is not set to
SPKR “A
+ B” or “B”.
NOTE:
Do not use the SPKR A + B selection when two 8 Ohm cabinets are each connected to the two 4 Ohm OUTPUTS of each
Speaker Output Bank. A 2 Ohm load puts an excessive strain on the power tubes causing them to wear unusually fast.
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
BOLD SPONGY
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
POWER FUSE
FUSE
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
SEND 1
ROAD
KING
CH4 CH3 EXT.
SWITCH CH2 CH1
SOLO REVERB LOOP 1 LOOP 2
WARNING: To reduce risk of fire or
electric shock, replace fuse with
same type and rating only. Do not
expose this unit to rain or moisture.
WARNING:
To reduce risk of fire or electric
shock, Do not remove cover. No user-
serviceable parts inside. Refer
servicing to qualified personnel.
LOOP SYSTEM
ACTIVE
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
RETURN 1
NORMAL NORMAL
10% 90%
SEND LEVEL FTSW MIX
FTSW MIX
SEND 2 RETURN 2 EXT. TRIGGERS
L
A
T
C
H
I
N
G
P
U
L
S
E
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 4
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 3
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 2
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
NORMAL
10% 90%
LOOP 2
MIX
PROGRESSIVE
LINKAGE
CH 1
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
LEVEL
OUT
SLAVE
CAUTION: USE SHORTING PLUG IF NO SPKRS IN B
4 OHM4 OHM8 OHM
COMBO
SPEAKERS
USE WITH TWO 8 OHM CABS
A
B
CH 3 CH 1
CH 2CH 4
REVERB
OOGIE
B
MESA
REAR VIEW : COMBO Road King
REAR VIEW: Road King
LEVEL
OUT
SLAVE
HORTING PLUG IF NO SPKRS IN B
4 OHM4 OHM
SPEAKERS
USE WITH TWO 8 OHM CABS
LEVEL
OUT
SLAVE
CAUTION: USE SHORTING PLUG IF NO SPKRS IN B
4 OHM4 OHM8 OHM
COMBO
SPEAKERS
USE WITH TWO 8 OHM CABS
REAR PANEL CONTROLS & FEATURES

PAGE 13
REVERB:
These 4 rotary controls determine the dry/wet mix ratio for the rich analog
REVERB
and are wired to the Reverb return
circuit. Each of the 4 Channels have a dedicated control so that a different Reverb mix can be attained for each individual sound.
The controls sweep from a subtle background effect at their low range to a drenched, swimming effect at
the top of the control. Several factors affect the
REVERB
tone and drive including the different Modes’ gain
structures, preamp gain settings and CHANNEL MASTER and OUTPUT control settings. Generally speaking,
lower gain settings will produce cleaner, purer Reverb effects, while higher gain settings will produce more
smeared, washy Reverb sounds. This difference can be useful, desirable and is a normal characteristic of
Reverb circuits of this type.
The
REVERB
may be switched in and out of the circuit via the
REVERB
button on the Footcontroller.
NOTE:
It is normal to experience approximately 1-2 seconds of delay before the
REVERB
is mixed with the dry signal after switching
the
REVERB
or Channels. This intentional built-in delay prevents both switching noise from the hard bypass relays used to isolate
the pure dry signal from the effected
REVERB
signal, and the prior Channels sound coming through the
REVERB
in the current
Channel when switching. At fi rst this may seem strange, but after a couple minutes in real world situations you will see that it is prefer-
able to the embarrassing alternative of a loud overdriven crunch chord drowning out your beautiful clean passage in the middle of a
breakdown.
CHANNEL STRIPS:
These 4 clusters of switches and controls house the specifi c features that can be pre-assigned per individual
channel. Once you have deciphered one, you have learned the
Kings’
secret and are ready to rule, for they are simply repeated for
Kings’ secret and are ready to rule, for they are simply repeated for Kings’
the 4 channels.
This section is where you choose the status of LOOP 1 & 2, your choice of Speaker enclosure(s),
what type of Rectifi er you wish to use and most importantly the power section you wish to com-
bine with your preamp choice with the PROGRESSIVE LINKAGE rotary control. Let’s go over the
controls one at a time, beginning with this most important choice.
PROGRESSIVE LINKAGE:
This 5 position rotary control contains the most powerful feature ever found on a self contained amplifi er,
the ability to assign your choice of 5 different power amplifi ers to one of the 4 preamps and footswitch to it. Although this is not our
fi rst amplifi er to showcase this patented feature – the single channel
BLUE ANGEL
fi rst introduced it – the power of
BLUE ANGEL fi rst introduced it – the power of BLUE ANGEL
PROGRES-
SIVE LINKAGE
reaches maturity here in a multi-channel format that should make all serious guitarists
reconsider the very nature of channel switching amplifi ers from here forward. By exploring the possibilities
of this awesome feature and understanding how to combine the front end preamp choices with a power
section that enhances that sound, you will be able to use the
Road King
to its full potential. The choices
Road King to its full potential. The choices Road King
are laid out in a logical left to right array with the lowest wattage settings to the left and the most powerful
RMS ratings to the right. On the Front Panel you will fi nd the valuable
PROGRESSIVE LINKAGE
LED
status indicators, which keep you informed of your current power status at all times…even from across the
stage. Here is a
one-dimensional
description of the choices and their individual characters.
one-dimensional description of the choices and their individual characters.one-dimensional
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
REVERBPROGRESSIVE
LINKAGE
CH 1
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
REVERBPROGRESSIVE
LINKAGE
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
CH 4
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
PROGRESSIVE
LINKAGE
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
REAR PANEL CONTROLS & FEATURES (Continued)

PAGE 14
SELECTING POWER TUBES:
produces roughly 50 watts of bubbly resilient magic and is one of our favorite setups in the entire amplifi er. It is wonderful
for both low and high gain styles and has probably the best balance frequency-wise for both types of sounds. The low end is bouncy
and rich, while the top end smiles with sweetness and seems to exorcise all the harsh frequencies and showcase the pleasing ones.
The inherently vintage voice of this power duo lends itself to blackface era clean sounds especially well and some of the best clean
sounds in the entire amp can be found here.
Be sure to experiment with the TWEED mode of CHANNEL 1 in combination with the
2 x 6L6
for there are hours of good clean fun
awaiting you here. Another attribute of this setting is the way it responds to both RAW and VINTAGE in CHANNEL 3. Because of its
balance and harmonically friendly nature, the gain sounds seem to turn into the creamiest tone soup we’ve ever experienced. The
overall character is elastic, making the strings feel easier to play and more expressive and yet they respond to every nuance of your
playing style.
REAR PANEL CONTROLS & FEATURES (Continued)
FOOT
CONTROLLER
CHANNEL
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
WER FUSE
FUSE
CH4 CH3 EXT.
SWITCHCH2 CH1
REVERB SOLO LOOP 1 LOOP 2
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
RETURN 1
10% 90%
SEND LEVEL FTSW MIX
FTSW MI
SEND 2 RETURN 2 EXT. TRIGGERS
I
N
G
P
U
L
S
E
CH 4
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
LEVEL
OUT
SLAVE
CAUTION:
USE SHORTING PLUG IF NO SPKRS IN B
A
B
CH 3
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
REVERB
PROGRESSIVE
LINKAGE CH 1
COMBO VERSION 2 x 6L6
(partial rear chassis view)
6L6 GC
STR 430
6L6 GC
STR 430
EL 34 EL 34 6L6 GC
STR 430
6L6 GC
STR 430
POWER FUSE
120 V~ 4 A
WER FUSE
HEAD VERSION 2 x 6L6
(partial rear chassis view)
LEVEL
SLAVE
A
OOGIE
B
MESA
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
REVERB PROGRESSIVE
LINKAGE
CH 1
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
REV ERB SOLO
FUSE
FOOT
CONTROLLER
LOOP 2 LOOP 1
CH3 CH4
CH1 CH2 EXT
SWITCH
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
L
A
T
C
H
P
U
L
S
E
RETURN1
SEND 2
RETURN 2
EXT TRIGGERS
NORMAL
2x
EL34
2x6L6
2xEL34 4x
6L6
CH 2
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
B
CAUTION: USE SHORTING PLUG IF NO SPKR IN B
2x
EL34
2x6L6
2xEL34 4x
6L6
CH 3
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
B
2x
EL34
2x6L6
2xEL34 4x
6L6
CH 4
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
B
6L6 GC
STR 430
6L6 GC
STR 430
EL 34 EL 34 6L6 GC
STR 430
6L6 GC
STR 430
2x6L6

PAGE 15
is similar in output to the 2 x 6L6 duo but oddly enough can at times seem more powerful to the ear and has a very different
character. The emphasis here is on top end and a more urgent stripped attitude. While this setup works for both low and high gain
sounds, the additional top end accentuation combined with a drier low end makes clean sounds a bit more challenging to dial. There
are some great
edge of clean
sounds possible, especially in the BRIT mode of CHANNEL 2 where the lower mid characteristic is
edge of clean sounds possible, especially in the BRIT mode of CHANNEL 2 where the lower mid characteristic is edge of clean
complimentary to these brighter tubes.
The
EL’s
have the harmonic spread, but not quite the balance of the 6L6 and this makes these Euro-born pentodes hygienically
challenged when compared to the 6L6. For gain sounds though, they have an attitude all their own that is undeniable in its brash
urgent glory. The seeming lack of sub-low performance hinders them a bit for modern high gain mosh or metal sounds, but they own
the territory between clean and crunch with a lushness of harmonics and top-end shred that is wicked, yet musical. Only these tubes
respond with a looseness that is a benefi t, for it produces that coming-apart-at-the-seams vibe that can put danger in any Rock and
Roll part played through this rebellious team. Check out RAW and the lower half of VINTAGE in CHANNELS 3 and 4 for a world of
these sounds, but ride the PRESENCE with care as there is substantially more high end here than any other power choice.
REAR PANEL CONTROLS & FEATURES (Continued)
SELECTING POWER TUBES: (Continued)
2xEL34
FOOT
CONTROLLER
CHANNEL
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
WER FUSE
FUSE
CH4 CH3
EXT.
SWITCH
CH2 CH1
SOLO REVERB LOOP 1 LOOP 2
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
RETURN 1
10%
SEND LEVEL
SEND 2 RETURN 2 EXT. TRIGGERS
I
N
G
P
U
L
S
E
CH 4
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
LEVEL
OUT
SLAVE
CAUTION: USE SHORTING PLUG IF NO SPKRS IN B
A
B
CH 3
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
DIODE
TUBE-TRACKING
RECTO
A
B
SPKR
A
+
B
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
REVERB
PROGRESSIVE
LINKAGE CH 1
COMBO VERSION 2 x EL 34
(partial rear chassis view)
6L6 GC
STR 430
6L6 GC
STR 430
EL 34EL 34 6L6 GC
STR 430
6L6 GC
STR 430
POWER FUSE
120 V~ 4 A
WER FUSE
HEAD VERSION 2 x EL 34
(partial rear chassis view)
6L6 GC
STR 430
6L6 GC
STR 430
LEVEL
SLAVE
A
OOGIE
B
MESA
2x
EL34
2x
6L6
2x6L6
2xEL34 4x
6L6
2xEL+
4x6L6
REVERB PROGRESSIVE
LINKAGE
CH 1
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
REV ERB SOLO
FUSE
FOOT
CONTROLLER
LOOP 2 LOOP 1
CH3 CH4
CH1 CH2 EXT
SWITCH
BYPASS
LOOPS, SOLO
& MASTER
CONTROLS
L
A
T
C
H
P
U
L
S
E
RETURN1
SEND 2
RETURN 2
EXT TRIGGERS
NORMAL
2x
EL34
2x6L6
2xEL34 4x
6L6
CH 2
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
B
CAUTION: USE SHORTING PLUG IF NO SPKR IN B
2x
EL34
2x6L6
2xEL34 4x
6L6
CH 3
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
B
2x
EL34
2x6L6
2xEL34 4x
6L6
CH 4
DIODE
RECTO
TUBE-TRACKING
A
ON
OFF
LOOP 1
ON
OFF
LOOP 2
A
+
B
B
EL 34 EL 34 6L6 GC
STR 430
6L6 GC
STR 430

PAGE 16
NOTE:
It has been our experience that different types of
EL34
seem to have drastically different sonic characters. The classic skinny
EL34 seem to have drastically different sonic characters. The classic skinny EL34
German Seimens type sound much as they look, skinny and bright with a looser nature, and are by far the best sounding
EL34
to
our ears. These tubes are out of production and are available only as coveted New Old Stock and most
EL34
afi cionados search far
EL34 afi cionados search far EL34
and wide for these harmonically luscious pentodes. For
Road King
owners we have a limited supply of these New Old Stock tubes
and you can contact our Customer Service Dept. and they can sell you a set. However, these are unfortunately, less reliable and if
you prefer these, we suggest that you keep a spare set and some fuses on hand should they go bad. We suggest using these tubes
for recording only in a stable environment, as they do not seem sturdy enough for the rigors of the road.
Because the Seimens tubes are no longer available in quantity, we have shipped your amplifi er with the best sounding
EL34
currently
available. This
EL34
is made in Russia and has very similar characteristics to that of the Seimens and actually has slightly more output.
EL34 is made in Russia and has very similar characteristics to that of the Seimens and actually has slightly more output. EL34
Best of all is that these tubes are much more reliable and are available and still being made. We suggest using these for your live and
all around applications.
The fatter U.S. type (also known as 6CA7) produce a sound that has some of the characteristics of the 6L6
and they too sound like they look, fatter and beefi er, which is not as readily identifi able as a true EL34 sound. As you might guess,
we have found these to be more reliable also and it comes down to which is more important to your individual needs. Regardless of
your choice it is always a good idea to carry a full set of extra tubes and fuses in your cord bag at all times whenever using gear that
relies on this quirky, yet most toneful technology.
REAR PANEL CONTROLS & FEATURES (Continued)
2xEL34: (Continued)