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

Owner’s Manual

Hello from the Tone Farm
...You, smart player and intuitive human, have put your trust in us to be your amplifi er
company. This is something we do not take lightly. By choosing this instrument 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 the new owner of an amp,
bred of fi ne all tube heritage...benefi ting from the many pioneering and patented Mesa
circuits that led to the refi nement of your new model. We feel confi dent, 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 fi ne 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.

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
_______________________________________________________________________________________
7-8
TREBLE
______________________________________________________________________________________
8
MID
________________________________________________________________________________________
8-9
BASS
_________________________________________________________________________________________
9
PRESENCE
____________________________________________________________________________________
9
MASTER
_____________________________________________________________________________________
10
OUTPUT CONTROL
_________________________________________________________________________
10-11
SOLO CONTROL
______________________________________________________________________________
11
STANDBY SWITCH
____________________________________________________________________________
11
POWER: BOLD/OFF/SPONGY SWITCH
____________________________________________________________
11
SLAVE
_______________________________________________________________________________________
12
SPEAKERS
___________________________________________________________________________________
12
REVERB
_____________________________________________________________________________________
12
CHANNEL STRIPS
_____________________________________________________________________________
13
RECTIFIER SELECT with TUBE-TRACKING
________________________________________________________
13
FX ON / FX OFF SWITCHES
_____________________________________________________________________
14
FX LOOP & PATCHING
______________________________________________________________________
14-15
USING THE FX RETURN AS A POWER AMP INPUT
_______________________________________________
15-16
EXTERNAL SWITCHING
________________________________________________________________________
16
TUNER OUT
__________________________________________________________________________________
16
A.C. RECEPTACLE
_____________________________________________________________________________
16
FUSE and SERIAL NUMBER
_____________________________________________________________________
17
FACTORY SAMPLE SETTINGS
________________________________________________________________
18-21
DIAGNOSING TUBES & TUBE MAINTENANCE
___________________________________________________
22-26
SPEAKER HOOK-UP & IMPEDANCE MATCHING GUIDE
___________________________________________
27-32
FEATURE ARTICLE: Irishmen, Pentodes & Triodes by Randall Smith
________________________________
33-35
PARTS SHEET
________________________________________________________________________________
36
FRONT PANEL:
REAR PANEL:
ROADSTER

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 Roadster
as your amplifi er and welcome to the
Mesa Dual Rectifi er Roadster as your amplifi er and welcome to the Mesa Dual Rectifi er Roadster
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
Roadster
is more than just an amp. It’s a
Roadster is more than just an amp. It’s a Roadster
collection
of amps
housed in one chassis. This arsenal of sounds is so powerful that
of amps housed in one chassis. This arsenal of sounds is so powerful that of amps
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 Channel’s Reverb Setting, power amp choice (50 or 100 Watts), choose your Rectifi er Style and set your Effects
Loop status. There you go, one channel done…repeat this scheme three more times and you are ready to explore your fi rst palette of
sounds in the
Roadster
. Rest assured, many more combinations are lurking in there and you can look forward to years of discovery
as you go deeper. In case that was too simple sounding, here is a more expanded way of understanding the
Roadster.
Four independent preamp channels make up the front end of the
Roadster
and though they may each be used for any sound, they
Roadster and though they may each be used for any sound, they Roadster
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.
OUTPUT
SOLO
CH1 CH3
LOOP
GAIN TREBLE MID BASS PRESENCE MASTER
RAW
MODERN
VINTAGE
RAW
MODERN
VINTAGE
BOLD
SPONGY
ON
STANDBY
CLEAN
TWEED
FA
T
CLEAN
BRIT
FAT
GAIN TREBLE MID BASS PRESENCE MASTER
FRONT VIEW : COMBO
Roadster
MUTE
CH2 CH4
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
WER FUSE
FUSE
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
FX LOOP
CH4 CH3
EXT.
SWITCH
CH2 CH1
REVERB SOLO LOOP TUNER OUT
LOOP SYSTEM
ACTIVE
HARD BYPASS
LOOP, OUTPUT &
SOLO CONTROLS
NORMAL
SEND LEVEL
SEND RETURN
CH 4
6L6
BIAS
EL34
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
CH 3 CH 2 CH 1
SLAVE
LEVEL
OUT
REAR VIEW : COMBO Roadster
(USE WITH TWO 8 OHM CABS)
4 OHM8 OHM
SPEAKERS
4 OHM16 OHM
Operating Instructions

PAGE 2
This allows the
Roadster
to be many amps to many players and roam confi dently between extremely
Roadster to be many amps to many players and roam confi dently between extremely Roadster
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. You’ve chosen an amp that will grow with you.
This awesome preamp power is then sent to the
Roadster’s
Effects Loop section and we have provided a Series Loop to assure a
Roadster’s Effects Loop section and we have provided a Series Loop to assure a Roadster’s
match to whatever type of processing you choose. The Loop may be programmed active in any of the channels or, footswitched in
and out on the fl y.
The
Roadster
also features Rectifi er Tracking, a feature which automatically matches the type of rectifi cation for each of the preamp
Roadster also features Rectifi er Tracking, a feature which automatically matches the type of rectifi cation for each of the preamp Roadster
/ 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 Diode rectifi er or vice versa. Many combinations are possible and the best part is that Rectifi er
Tracking follows your choices in power settings to always mate the proper amount of rectifi cation for the number of tubes in use. For
example, if you are using either 2 x 6L6 and you choose Recto Tracking, 1 x 5U4G will be applied. If you use 4 x 6L6, 2 x 5U4G will
be used. 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.
The
Roadster
incorporates a rich, all tube analog Reverb. Controlled per channel with the Rear Panel Reverb controls, it may be
Roadster incorporates a rich, all tube analog Reverb. Controlled per channel with the Rear Panel Reverb controls, it may be Roadster
switched in and out via the foot controller.
Our patented 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. 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
Roadster
behind us, let’s get ready to play.
Roadster behind us, let’s get ready to play.Roadster
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 the A.C. Power Cable to a grounded A.C. outlet.
5.)
Flip the A.C. Mains switch to the BOLD position and wait at least 30 seconds for the power tube fi laments to warm up with the
STANDBY switch in the down (STANDBY) position. This cold start procedure prolongs tube life so try to follow it each time you
power up the amplifi er.
6.)
Turn the Front Panel OUTPUT control to zero before fl ipping the STANDBY 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.
7.)
Flip the STANDBY to the ON position and enjoy your new instrument.
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.)
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.
4.)
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.
5.)
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.
6.
) 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.
Getting Started:
Helpful Hints:

PAGE 4
7.)
The PRESENCE control determines a lot 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.
8.) 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 may require a very low PRESENCE setting.
9.)
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
Roadster’s
twelve modes and is optimized for producing bal-
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 and 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 gainier variation on the CLEAN that appears in both
channels. Here we have emphasized the gain in the midrange to achieve a more vintage feel that has an element of sag built in. This
mode begs you to run the GAIN high and clip the fi rst tube stage, especially with single coil pickups. You’ll fi nd a whole world of “in-
between” or pushed sounds in TWEED that pay homage to the amazing tweed amps of yesteryear.
Yet here in the Roadster there is just enough increased gain to take these sounds over the top and
give you that extra fi re and feel. This mode may be one of the best sounds in the Roadster and would
make a truly great amp all by itself!
Be sure to experiment with the Recto Tracking setting in CHANNEL 1 to create the ultimate retro
character and super-dynamic attack envelope. The added bounce of this feature mates perfectly with
TWEED’s preamp voicing, especially when used with the 50 watt power setting.
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 sweet clipped sound with just a bit more resiliency, this mode is a wonderful
voice for any style of clean playing or soft clip soloing.
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 tea bag.
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 CHANNELS 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 50 watt power setting when selected with a set of EL34’s was born to serve this mode and when these two parts are
used together a level of character is unveiled that is the equivalent opposite to TWEED feeding 2 x 6L6’s in 50 watt mode.
BRIT
works
very well with EL34 type power tubes so be sure to try using the Real Panel Bias switch and swapping the stock compliment of 6L6’s for
a set of EL34’s to create the ultimate pre/power match in the studio. EL34’s will most likely compromise the performance of the other
modes, making the entire amp brighter and thinner. You may want to keep using 6L6 type tubes for most of your live applications.
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.
NOTE: BIAS SETTING MUST MATCH TUBES IN USE. FAILURE TO DO SO WILL RESULT IN DAMAGE TO YOUR AMPLIFIER.
CHANNEL 3 & 4: RAW
This new
This new
Roadster
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 available 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
This high gain mode is the famous liquid
Recto
voice and it can be found in its original state in CHANNELS
Recto voice and it can be found in its original state in CHANNELS Recto
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
Rectos’ black magic, tube-rectifi ed power section creates Rectos’
colors in gain that most players fi nd truly 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
Roadster’s
most rebel-
lious 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
Roadster
is really three separate multi-mode amplifi ers built onto one chassis, so though
Roadster is really three separate multi-mode amplifi ers built onto one chassis, so though Roadster
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
Roadster
, 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
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
Roadsters’
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
Roadster’s
extreme gain potential, the highest regions of the
Roadster’s extreme gain potential, the highest regions of the Roadster’s
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 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...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
Roadster
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 all four channels of your
Roadster
) 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
Roadster
, 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 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
Roadster
. In all 3
modes ( CLEAN, FAT & TWEED ), the
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 be used sparingly 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
Roadster
. 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
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 neutral 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 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
Roadster
will
Roadster will Roadster
fi nd the
PRESENCE
control in its lower regions, where a balanced, vocal response is achieved.
Higher settings unleash the mighty roar of your
Roadster
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 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 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 sec-
tion 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 jack and
therefore 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 ROADSTER AS A POWER AMP ONLY
It is possible to use the
Roadster’s
power section as a stand alone power amp for use with external preamps, as half of a stereo
Roadster’s power section as a stand alone power amp for use with external preamps, as half of a stereo Roadster’s
power rig or, as a slave for another
Roadster
in larger venues. Here’s how;
1.)
Connect your preamp signal to the EFFECTS RETURN jack.
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.
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 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 settings (50 or 100 watts).
CONTROLS: (Continued)
BASS MASTERPRESENCE
OUTPUT
SOLO

PAGE 11
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 jack and therefore it is only
in the signal path and active when the EFFECTS LOOP is set to LOOP SYSTEM IN. 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 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
Roadster
as a slave power amp the
SOLO
control
can be used to provide a footswitchable volume boost for the power amp.
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.
POWER: BOLD / OFF / SPONGY
This three position toggle switch determines the status of the incoming AC power. “SPONGY”
works like a built in Variac, reducing all the internal voltages for a true vintage feeling and that extraordinary “brown sound.” Power is
reduced somewhat too, making it easier to achieve an overdriven power sound, especially when the RECTIFIER SELECT switch is
set to the TUBE RECTIFIER position.
Using the
Roadster
in the SPONGY power setting will also extend tube life and overall reliability,
Roadster in the SPONGY power setting will also extend tube life and overall reliability, Roadster
while still producing enough power to work many of your gigs...and all of your recording needs! For
maximum power, normal response and the greatest headroom use the BOLD setting of the AC
power switch.
Make sure the unit is grounded (all three terminals of the A.C. power cord must be connected
whenever possible to avoid injury to the user as well as to the unit) and that the proper voltage is
present.
Follow the cold start procedure described in the STANDBY section above when powering up your new
Roadster
.
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
SOLO
BOLD
SPONGY
ON
STANDBY
BOLD
SPONGY
O
ON
STANDBY

PAGE 12
SLAVE:
This 1/4” jack and control provide a signal derived from the speaker jack. Perfect for using either the
Roadster
head version
Roadster head version Roadster
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.
SPEAKERS:
Two 4 Ohm, one 8 Ohm and one 16 Ohm jack are provided for speaker interfacing. The
Roadster
is not very sensi-
Roadster is not very sensi-Roadster
tive to speaker mismatches and will not be damaged by them, except that very low ohmage loads will cause the power tubes to wear
faster. A single twelve-inch 8 Ohm speaker should generally be connected to the 8 Ohm output. When using two 8 Ohm speakers,
connect them both to the 4 Ohm outputs provided (because the total load is 4 Ohms in that case.) Check out the information further
back in this manual regarding speaker impedance and possible speaker hook-up schemes.
4x12 cabinets may be 4, 8 or 16 Ohms. If you are not sure of the impedance of your cabinet, you may
need to remove the Rear Panel in order to verify the impedance rating of the individual speaker or
speakers.
MESA
4x12 and 4x10 cabinets come standard wired to 8 Ohms, and are wired in series-
parallel. Some Non-
MESA
4x12 cabinets are wired 16 Ohms using four 16 Ohm speakers. By wiring
all four speakers in parallel, you can reduce the cabinet to an impedance load of 4 Ohms (assuming
the speakers are 16 Ohms each.) No matter how unusual your speaker setup, it is always possible to
get good performance.
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.
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
WER FUSE
FUSE
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
FX LOOP
CH4 CH3
EXT.
SWITCH
CH2 CH1
REVERB SOLO LOOP TUNER OUT
LOOP SYSTEM
ACTIVE
HARD BYPASS
LOOP, OUTPUT &
SOLO CONTROLS
NORMAL
SEND LEVEL
SEND RETURN
CH 4
6L6
BIAS
EL34
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WATTS
FX ON
FX
OFF
CH 3 CH 2 CH 1
SLAVE
LEVEL
OUT
REAR VIEW : COMBO Roadster
(USE WITH TWO 8 OHM CABS)
4 OHM8 OHM
SPEAKERS
4 OHM16 OHM
REAR VIEW: Roadster Combo
SLAVE
LEVEL
OUT
(USE WITH TWO 8 OHM CABS)
4 OHM
KERS
4 OHM
(USE WITH TWO 8 OHM CABS)
4 OHM8 OHM
SPEAKERS
4 OHM16 OHM
REAR PANEL CONTROLS & FEATURES
CH 4
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WA
TTS
FX ON
FX
OFF

PAGE 13
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
Roadster’s
secret and are ready to roll, for they are simply repeated
Roadster’s secret and are ready to roll, for they are simply repeated Roadster’s
for the 4 channels.
This section is where you choose the status of the LOOP, your power setting (50/100 watts), the
type of Rectifi er you wish to use and your Reverb Mix Level. Each preamp channel has a corre-
sponding
CHANNEL STRIP
to give you voicing and feel control over each of the four footswitchable
sounds for the ultimate fl exibility and maximum tone.
RECTIFIER SELECT with TUBE-TRACKING:
This two position toggle selects the type of rectifi er, Silicon Diodes or Tube, which
converts the voltage from AC to DC for the power supply. The
Roadster
incorporates a further improved version of our patented
Roadster incorporates a further improved version of our patented Roadster
Switchable Rectifi er feature fi rst seen on the Dual and Triple Rectifi er SOLO heads. It incorporates a Rectifi er Tracking™ feature that
insures proper voltage is present at all times and improves reliability. This switch operates in tandem with the individual Channel
Power Select (50/100) switch located in each Channel Strip.
The Rectifi er Tracking feature monitors the Channels, determines their power status and automatically selects the proper rectifi er
type - which ultimately assures the best sound. This provides optimization of the power settings, delivering a magical tube-rectifi ed
power-sag vibe for the channel set to 50 watts - and a tighter, bolder 100 watts of diode-rectifi ed authority for the channel set to full
power.
Here is an explanation of how the two choices work;
DIODE:
Calls up the silicon diode rectifi er, which offers more punch, a tighter attack with more brightness and substantially more
headroom. This rectifi er choice provides the highest power and therefor the tightest rectifi cation. This setting would be best for any
application where maximum headroom is needed or tight bass response is called for. Situations that usually require this are clean
rhythm playing or extreme high gain crunch rhythm sounds.
RECTO TUBE-TRACKING:
Each channel features the ability to choose between the saggy bounce of the 5U4 Rectifi er Tubes or
the tight, bold authority of the Silicon Diodes. Selecting RECTO TRACKING brings on-line one 5U4 when in 50 watts and two 5U4s
when 100 watts is selected.
The tube rectifi er sound
takes a power section walk down memory lane, paying tribute to those vintage gems of yesteryear. In those
early days of amplifi cation the only rectifi ers available
were
tubes. Unbeknownst to their creators, these sweet sounding amplifi ers
were tubes. Unbeknownst to their creators, these sweet sounding amplifi ers were
would someday become relics as the demand for higher volumes and more power per package led to the abandonment of the tube
as a rectifi er, in favor of the fi ve cent silicon diode’s greater effi ciency. With this decision went much of the sweetness and soul and by
the late ‘60’s most amps were bold, loud and effi cient…but unfortunately sometimes lacking that earlier soul. We sought to bring that
magic soul, personality and feel to the
Dual Rectifi er
Series, and the resurrection of this age-old circuit does just that.
NOTE:
Don’t forget the Front Panel AC switch incorporates the reduced voltage SPONGY setting. This adds yet another dimension
to the power expression scenario and can produce amazing results when combined with the RECTO TUBE-TRACKING feature. Be
sure to experiment with these two features in combination with each other.
CH 4
REVERB
DIODE
RECTO
TRACKING
100 WATTS
50
WA
TTS
FX ON
FX
OFF
REAR PANEL CONTROLS & FEATURES (Continued)

PAGE 14
FX ON / FX OFF SWITCH:
This mini toggle switch in each Channel Strip assigns the Series EFFECTS LOOP and determines
its status in the signal path. Once the LOOP has been engaged, its Channel specifi c status is sent to the Front Panel FX LOOP LED
indicator that sits between the pairs of Channels for at-a-glance monitoring of its status. See the
EFFECTS LOOP section for more information on the LOOP.
NOTE:
Remember that the FX LOOP must be engaged in the FX LOOP section of the Rear
Panel for signal to be routed via these switches.
EFFECTS LOOP:
Your
Roadster
is fi tted with a Series Effects Loop for interfacing outboard processing. The Loop is placed at
Roadster is fi tted with a Series Effects Loop for interfacing outboard processing. The Loop is placed at Roadster
the junction between the preamp and the power amp and is optimized for levels that will match up with most good quality processing
devices. A SEND LEVEL Control is provided to fi ne tune the signal strength coming from the preamp and allows for some compensa-
tion for extreme Channel MASTER settings.
Each of the four Channel Strips contain an Effects Loop Control switch labeled FX ON/FX OFF.
This mini toggle controls the status of the Effects Loop in each Channel once the LOOP has been
engaged via the master LOOP SYSTEM IN/LOOP BYPASS switch that is located adjacent to the
LOOP SEND and RETURN jacks. Selecting FX ON in a given Channel will engage the LOOP
automatically when that Channel is selected with either the Footcontroller or the Channel Select
Rotary switch. As mentioned earlier, the Front Panel OUTPUT (and SOLO) Control is part of the
Effects Loop Return stage and therefore these are not active when the Loop is switched out of the
circuit.
The Loop may be switched out of the signal path completely using the LOOP SYSTEM IN/HARD BYPASS switch located adjacent
to the loop. This switch engages the Loop SEND and RETURN jacks, SEND LEVEL Control, OUTPUT and SOLO Control and all
associated circuitry. When LOOP BYPASS is selected (switch up) the entire Loop is removed from the signal path and the individual
Channel MASTER Controls become your fi nal output level controls. This HARD BYPASS feature allows you to use your
Roadster
in
Roadster in Roadster
all its raw glory in the studio where processing will be added later on a separate channel and you need every ounce of pure, unfi ltered,
Tone for a magical performance.
NOTE: The FX LOOP switch must be set to LOOP SYSTEM IN for the TUNER MUTE function of the Footcontroller to work properly.
PATCHING EFFECTS:
1.)
Connect the SEND to your processor’s INPUT.
2.)
Connect the RETURN to your processor’s OUTPUT.
3.)
Set the Four Channels to you dedicated sounds and levels using the Channel MASTER Controls.
4.)
Select the individual Channels’ Loop Status in the corresponding Channel Strip
5.)
Select LOOP SYSTEM IN on the LOOP Select switch.
6.)
Set your processor’s INPUT Level control for unity gain.
7.)
After playing in each channel, Adjust the Rear Panel SEND LEVEL to achieve a good unity gain peak level (remember that clean
sounds will peak a bit higher because of their more dynamic, less compressed nature).
8.)
Adjust the Front Panel OUTPUT Control to the desired playing volume.
9.)
Connect the Footswitch (to the Rear Panel FOOT CONTROLLER jack, select SOLO and adjust the SOLO Control for the desired
amount of volume boost.
REAR PANEL CONTROLS & FEATURES (Continued)
DIODE
RECTO
TRACKING
100 WATTS
50
WA
TTS
FX ON
FX
OFF
FX LOOP
LOOP SYSTEM
ACTIVE
HARD BYPASS
LOOP, OUTPUT &
SOLO CONTROLS
NORMAL
SEND LEVEL
SEND RETURN

PAGE 15
PATCHING EFFECTS: (Continued)
You will fi nd the
You will fi nd the
FX LOOP
a welcome feature for all rack type processing and when good quality
cables are used and kept to a length of 3 feet or less, you will notice very little if any degradation in the sound of your
Roadster
.
NOTE:
Because the
FX LOOP
is wired in series with the main signal, it is very important that you choose processing devices that are of
professional grade quality from reputable manufacturers. In a series confi guration, your amplifi ers sound will depend on the integrity of the
processor’s input and output stages, because you have inserted something into the heart of the most sensitive place in your amplifi er.
USING THE FX RETURN AS A POWER AMP INPUT:
You may, at times, wish to use the
Roadster
as a stand alone power amp
Roadster as a stand alone power amp Roadster
for amplifi cation of processing or as half of a larger stereo rig. Because of the channel and mode specifi c changes that take place
internally you will want to follow the suggestions below for the best results.
1.)
The FX LOOP SELECT switch must be set to LOOP SYSTEM IN (Loop engaged).
2.)
The FX LOOP RETURN jack is the INPUT to the power section. This jack bypasses the entire preamp including the GAIN and
all the Tone Controls.
3.)
The OUTPUT is your level control.
4.)
You may use the SOLO Control for a footswitchable volume boost (Footswitch must be connected).
5.)
You may use the Channel Strip POWER SELECT switches to select a power rating that is appropriate for the venue or applica-
tion.
6.)
The choice of rectifi ers is still available when using the
Roadster
FX RETURN as a power input. Remember that this choice
is channel specifi c. The SILICON DIODE selection is more in line with what you would fi nd in most all other stand alone power
amplifi ers, but for guitar applications it is nice to have the choice of the saggy response of tube rectifi cation.
NOTE:
Keep in mind that cleaner sounds, although they appear to be the same volume as saturated sounds, send a more dynamic
signal to your processor and therefore will probably register a hotter signal on the processors’ Input indicator. This is not a problem,
but it will be of interest when setting up your sounds in the channels. Set the Channels for their relative volume and don’t pay too
much attention to the processors Input unless you experience clipping. If so, reduce all the Channel MASTER controls a bit and
compensate with the OUTPUT control.
NOTE: It is important to understand that the EFFECTS LOOP was designed to work best with a unity gain signal
.
By increas-
ing the gain on your processors’ Input or Output beyond this point, you run the risk of experiencing a high pitched squeal
or feedback
. This is a result of the SEND and RETURN jack being connected together by adding excessive gain at the processors
or feedback. This is a result of the SEND and RETURN jack being connected together by adding excessive gain at the processors or feedback
Input and Output stage, thus reducing the internal separation between these stages we have built into the
Roadster’s
EFFECTS
LOOP.
Why can’t there be more separation at this point in the circuit? There could be if we -and you - didn’t care about TONE. This is
an extremely sensitive part of any amplifi er, and we have always chosen these most critical part values on the side of TONE, knowing
that if the loops are used properly - with high quality processors there will be no problems.
Please try to keep in mind that this is a high performance amplifi er and should be used in conjunction with outboard gear of equal
quality. If you must use lesser processing, you will have to tolerate any degradation in sound quality and remember that turning up
the gain of such a processor much at all will only cause feedback problems.
NOTE: Remember that the LOOP BYPASS switch removes all LOOP circuitry from the signal path including, 2 x 12AX7s and
the OUTPUT and SOLO controls
.
REAR PANEL CONTROLS & FEATURES (Continued)

PAGE 16
USING THE FX RETURN AS A POWER AMP INPUT: (Continued)
NOTE:
When using the
Roadster’s
EFFECTS RETURN jack as a Power Amp Input, the input sensitivity will be most “normal” in
CHANNELS 1 and 2. For increased power sensitivity you may choose the incredibly sensitive CHANNEL 3 or 4 MODERN mode.
This will increase the power section input sensitivity by an order of ten. Be warned, this will make the OUTPUT level control extremely
sensitive and the amplifi er will be LOUD!
NOTE:
See the section on OUTPUT in the CONTROLS section earlier in this manual for more information on using the
Roadster
as power amp only.
EXTERNAL SWITCHING:
These seven jacks are provided so that you may control the 4 Channels, the EFFECTS LOOP, The
Reverb and the SOLO feature with an external master Switching device. This is essential to use the
Roadster
as part of a Midi rig
where all sounds are called up via a Midi Footcontroller and both amplifi er and effects settings are stored under a midi program
number. The logic used to trigger these ports is simple tip-to-ground, latching type and most
Master switching systems incorporate several jacks dedicated to this logic.
The
EXTERNAL SWITCHING
jacks override the
Roadster’s
Footcontroller. Once a Chan-
Roadster’s Footcontroller. Once a Chan-Roadster’s
nel or Feature has been triggered “On” at the EXT. Switch ports, it may not be controlled or
turned “Off” until the logic at the Switch Port is reversed.
TUNER OUT:
This jack located in the stack of EXTERNAL SWITCH ports
(see above)
is a Tuner Output and allows for silent tuning
(see above) is a Tuner Output and allows for silent tuning (see above)
in live stage or studio environments where it is essential to tune your instrument without sound. When a Tuner is connected to this
jack, tap TUNER MUTE on the Footcontroller and the signal to the speakers will be muted. The signal will remain muted until you tap
TUNER MUTE again to bring the signal back.
NOTE: The FX LOOP switch must be set to LOOP SYSTEM IN for the TUNER MUTE function of the Footcontroller to work properly.
A.C. RECEPTACLE:
The removable “Euro” Style” A.C. cord that is supplied with your new
Roadster
makes set-ups and tear-
downs after the gig a snap. It also makes de-racking much easier when you wish to remove the unit from a hard wired rack system
where all the A.C. cords have been cable-tied in. Additional heavy duty cords are available should you ever
need one...simply call us direct and we can ship one directly to you for a nominal charge, plus shipping cost.
Make sure the A.C. cord is fi rmly seated in the
A.C.
RECEPTACLE
found on the tube side of the chassis before
powering up the amplifi er.
NOTE: Never alter the three prong power cord in any way.
REAR PANEL CONTROLS & FEATURES (Continued)
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
CH4 CH3
EXT.
SWITCH
CH2 CH1
REVERB SOLO LOOP TUNER OUT
FOOT
CONTROLLER
CH 2
CH
1
CH 3
FT
SW
CHANNEL
POWER FUSE
120 V~
60 Hz
4 A
4 A
SLO
BLO
WER FUSE
FUSE
A.C. Receptacle