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

Owner’s Manual

Hello from the Tone Farm
Congratulations on your choice of the Royal Atlantic™ RA-100 and Welcome to the Mesa/
Boogie Family! Our 40 year commitment to excellence along with our solemn promise to
musicians - to treat each of them as we ourselves would wish to be treated - guarantees
you an experience that will make you feel truly justified in your choice. We’re confident
your new amplifier will have you smiling and inspired within minutes of plugging in for
the first time. However, what’s really gratifying is that you will be finding new and in-
spiring sounds years after the price of admission has faded from memory and the ROYAL
ATLANTIC continues to unveil its true worth.
It’s with our sincere thanks for trusting us with your TONE and our best wishes for all
your musical endeavors that we welcome you home. Should you ever need assistance or
guidance we’re here to help. You now have in your hands an instrument of limitless ex-
pression. Our hope is that it takes you and your playing to new and unimagined places
throughout your musical journey. From all of us here at MESA…Enjoy!
Every fleet has its premier vessel, its big guns, the top of the line… and the MESA Atlantic
Fleet is no exception. The ROYAL ATLANTIC commands this armada with three foot-
switchable sounds, one hundred watts of heavy-artillery EL34 power and an innovative
first; Multi-Soak™ Channel Assignable Power Soaks. This Atlantic takes all the critically
acclaimed, award winning Tone and performance of the TransAtlantic™ TA-15 and TA-
30 and delivers it in a simple Retro-inspired platform that covers everything from home to
studio to concert stage with finesse and always… the perfect power/volume combination.
While Multi-Soak™ is definitely the biggest news in guitar amplification to happen in
quite a while, we’ll get to the RA-100 engine room momentarily. First though, let’s go
up to the Bridge and look around - for the Royal Atlantic preamp is a mighty command
center all its own.

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.

Precautions _______________________________________________________________________________ 0
Overview________________________________________________________________________________ 1-3
Before You Start ____________________________________________________________________________ 4
FRONT PANEL CONTROLS & FEATURES
MODES: CLEAN, HI, LO____________________________________________________________________ 5-6
CHANNEL SELECT _________________________________________________________________________ 7
GAIN ___________________________________________________________________________________ 7-8
TREBLE __________________________________________________________________________________ 8
MID ______________________________________________________________________________________ 9
BASS____________________________________________________________________________________ 10
MASTER ______________________________________________________________________________ 10-11
MULTI-SOAK ON/OFF ______________________________________________________________________ 11
STANDBY ________________________________________________________________________________ 11
POWER __________________________________________________________________________________ 11
REAR PANEL CONTROLS, SWITCHES & JACKS
FUSE____________________________________________________________________________________ 12
MULTI-SOAK___________________________________________________________________________ 12-13
H.T. FUSE ________________________________________________________________________________ 13
FAN SPEED ______________________________________________________________________________ 13
EFFECTS LOOP___________________________________________________________________________ 13
REVERB _________________________________________________________________________________ 14
FTSW (FOOTSWITCH) ______________________________________________________________________ 14
BIAS SELECT_____________________________________________________________________________ 14
SPEAKERS / IMPEDANCE SELECT ___________________________________________________________ 15
SLAVE OUTPUT / LEVEL____________________________________________________________________ 15
SAMPLE SETTINGS_____________________________________________________________________ 16-17
USER SETTINGS _______________________________________________________________________ 18-19
DIAGNOSING TUBE PROBLEMS __________________________________________________________ 20-21
BIAS ADJUSTMENT ARTICLE ____________________________________________________________ 22-24
SPEAKER IMPEDANCE MATCHING AND HOOKUP GUIDE_____________________________________ 25-30
FEATURE ARTICLE: ON PENTODES, TRIODES & IRISHMEN by Randall Smith ____________________ 31-33
TUBE TASK CHART - ROYAL ATLANTIC HEAD__________________________________________________ 34
TUBE TASK CHART - ROYAL ATLANTIC COMBO ________________________________________________ 35
PART SHEET - HEAD_______________________________________________________________________ 36
PART SHEET - COMBO _____________________________________________________________________ 37
Table of Contents

PAGE 1
Ov e r v i e w :
Two Channels house the three distinctively different footswitchable Modes in the RA-100, each dedicated to a region of musically useful gain
and capable of iconic sounds. These are comprised of CLEAN, LO and HI and they cover the continents with inspiring soulfulness, conviction
and authority… you need but plot the course and this vessel will take you there.
Channel 1 offers CLEAN, a decidedly American circuit, that chimes with bell-like clarity on the top and is filled out with bouncy, tight low-end
that’s warm and rich, but doesn’t get tubby. CLEAN produces angelic clean chording sounds, but because of its tucked bass frequencies, also
clips beautifully when used with its dedicated Soak for either pushed bluesy rhythm or old-school overdriven solo sounds.
Channel 2 pays tribute to both classic and modified British sounds, and though the two Modes in this Channel share Tone controls, they are
adept at delivering amazing, no-compromise footswitchable performance. LO focuses on that touch-sensitive region of gain produced by classic
Brit circuits and will have you knee-deep in hit-making sounds instantly. The undeniable beauty of this gain region lies in the ability to dictate the
sound based upon your picking technique, now further enhanced by the addition of Mutli-Soak™. Pick softly and she’ll purr through stormy seas
of Blue or, lay into it and deliver the classic Brit gut-punch… tight and thumping - with enough gain to crunch – yet with dynamic attack and not
too saturated. HI covers the widest spectrum of gain in the RA-100 and though its moniker suggests “over-the-top”, some of its best attributes
are to be found at settings in the middle of the evening watch. HI transforms from a sweet sea of lower-gain, English-Blues bliss at the shallow
end of the GAIN control - to an angry, raging tempest with fathoms of harmonics riding just below the surface as you taunt its furthest reaches.
And don’t worry, if your style takes you right up the middle – where you need enough gain to saturate, but you need your attack intact and not
mush – some of the Royal Atlantic’s best sounds reside in the heat of the noonday sun. Around 12:00 on Channel 2’s GAIN control, the Royal
rocks like a classic, but sings like a modified. Tight and percussive with harmonics that leap to the surface as if chased by a predator.
These two Modes in Channel 2 interact with the one set of Tone controls virtually seamlessly and deliver their respective characters with
surprising accuracy and detail. This enables you to switch across styles with a minimum of tweaking and a level of compromise that is well
worth the trade in simplicity.
Operating Instructions
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
FRONT VIEW: Royal Atlantic RA-100 Combo
REAR VIEW: Royal Atlantic RA-100 Combo

PAGE 2
Ov e r v i e w : (Continued)
And now back to the news you’ve been waiting for… Multi-Soak™ Channel Assignable Power Soaks. Your ship has come in!
While almost everyone loves the raw power, headroom and bold authority of a 100 watt power section pumping away beneath the deck, most
of us have trouble finding a venue for all that muscle. For many of us (regardless of age) few and far between are the gigs of yesteryear - where
we fondly remember cranking away on a big-bore head – punishing both the engineers and patrons of our favorite haunts to hit that place
where we could ride the wave of high volume “inspiration” and go off. These days if you need to rely on that - most likely you will find yourself
unemployed, or at least strongly reprimanded. And while you can use the Front Panel 100/50 watt Half Power switch to berth two of the 4 power
tubes for some cool applications, it’s not the ultimate solution.
Introducing Multi-Soak™. At last you can have whatever amount of power amp drive you need to deliver your personal form of magic – in every
Mode - at any volume level you desire. Let’s say that again; now your Tone doesn’t have to be directly tied to your volume. And one last time;
you can dial-in the perfect amount of power-clip for every footswitchable sound in your amp.
Okay, yeah this intro might be a little over the top… but damn! How long have we all struggled with that? And though Power Soaks of many
persuasions are nothing new… ones that don’t rob your Tone are much harder to find. And definitely - the ability to have a Soak that gives you
a separate one for each sound and individual control over their different volumes in one built-in package… well you’ve just sailed off the edge
of the map… and into a New World of Power Expression.
On the Rear Panel, Multi-Soak™ appears as a row of 3 rotary controls – each assigned to one of the footswitchable Modes – that give you a
choice of Bypass (no power reduction) and four popular levels of power soak volume attenuation. A master Bypass/Engage Soaks switch resides
on the Front Panel allowing you to remove the Multi-Soak Attenuators from the signal path completely should you decide to unleash the full fury
of the beast. Whether you end up relying on the Multi-Soak feature for all your sounds or you only use it for specific Modes and applications, the
versatility it creates is extremely powerful in both recording and live environments and makes the RA-100 unique in the world of big-displacement
heads. NOTE: ! High Master Volume settings (on any tube amplifier) will cause the power tubes to wear at an accelerated rate. Like
the tires on a car driven at the limit much of the time, continual excessive use of the Multi-Soak Attenuators to reduce a MASTER setting that
is too high to use without the Soak engaged will cause decreased tube life. This will not cause damage to the amplifier, but it will increase your
maintenance costs. NOTE: ! We recommend using the HIGH FAN setting when using Multi-Soak to attenuate the power.
The Royal’s got Reverb. Lush all-tube Reverb drenches the RA-100’s three Modes with a beautiful 3-D halo and provides you with assignable
choices on where to use it for the best footswitchable results. A 3-position Reverb MODE DEFEAT mini toggle in the REVERB section of the
Rear Panel lets you have the Reverb active in all Modes “ON” (toggle center), Defeated in HI (on in CLEAN and LO) or Defeated in HI and
LO. (on in CLEAN only). The RA-100 also provides a master REVERB BYPASS switch that enables you to remove the REVERB and all as-
sociated tubes and circuitry from the signal path for a more true-to-(at least Brit)vintage response. And if you still need more control than this
sophisticated approach to applying REVERB offers… we’ve provided a “hidden Reverb kill” jack on the tube side of the chassis giving those
who “don’t mind the dance” total control.
An old favorite, we’ve included our handy BIAS SWITCH that allows you to swap the stock compliment of EL34 with the fatter, rounder sounding
6L6… for those who want to lean heavily on American citizenship when it comes to crunch time (and even more so in CLEAN). NOTE:! Make
Sure Bias Switch Setting MatchesThe Tubes In Use !
Keeping a cool head is always a good idea, but for those times when passion gets the better of you (or you just have to play real quiet) we’ve
fitted the Royal with a 2-speed fan switch. We recommend keeping it set to HIGH for the longest tube life and trouble-free operation, but the
LOW (quieter) setting is there for recording sessions (and late-night serenades on the deck). NOTE: ! The Multi-Soak™ Attenuation Fea-
ture Generates Additional Heat. This heat increases as the amplifiers MASTER Volume Controls are increased while the Multi-Soak
Attenuator’s are dialed to reduce volume output to the Speaker. We highly recommend using the FAN on the HIGH setting anytime
the Multi-Soak Attenuators are used to reduce an otherwise extreme output signal.

PAGE 3
Ov e r v i e w : (Continued)
A transparent Series EFFECTS LOOP handles outboard signal processing aboard the RA-100 and provides a seamless interface for units
that don’t want to be “in front of the preamp” such as Delay, Chorus, Flange and Pitch Shifting based effects. The Loop Send is derived from a
source at the end of the preamp and the RETURN is inserted back into the signal path near the input to the power section. The Loop is basi-
cally a patch point at the junction of preamp and power amp and this delivers the best signal to noise ratio and the least degradation of signal
for most outboard devices. Overdrive pedals or Gain Boosting devices will usually want to see the guitar’s output signal as a “Send” and the
front end (Front Panel Input) of the RA-100 as the “Return”. Using gain pedals in the EFFECTS LOOP may cause noise problems, a “mushy”
attack or even feedback. Wah pedals also tend to work best in front of the amp for they are really a foot sweepable guitar Tone control. The
RA-100 EFFECTS LOOP incorporates switching-type jacks and when there are no patch cords and/or devices connected, the LOOP is HARD
BYPASSED and all associated circuitry is removed from the signal path.
Speaker impedance is an important part of not only power and headroom, but Tone and response (feel) as well. The Royal Atlantic Speaker
Output jacks are switchable and handle most speaker impedances well however, they are optimized for either 4 or 8 Ohm loads – which we
feel delivers the best overall performance. We prefer the sound of an 8 Ohm cabinet loading the 8 ohm Output Impedance Setting whenever
possible citing a more authoritative and responsive attack and tighter-tracking bass frequencies. The majority of MESA Speaker cabinets come
wired to 8 Ohms as the standard configuration. Options are available but must be special ordered.
A duplicate Footswitch Input is located on the Rear Panel to accommodate racking of the RA-100 into large format rack systems where all
switching is handled by a master (usually midi) switcher. The jacks (Front and Rear) respond to simple “tip to ground” logic and this is com-
monplace on most all master switching devices. It is usually preferable to have all wiring originate from the rear of these bigger rack systems
and the Rear Panel Footswitch jack supports this “pro” wiring scheme.
And finally, a MESA time honored tradition… the SLAVE OUTPUT and LEVEL control. This handy output enables capture of the entire sound
of the RA-100 – both preamp and power – to be captured and fed to an external power source (another RA-100 perhaps) for big venue rein-
forcement. Another common application is to feed a rack of external processing for the purist who doesn’t trust Effects Loops or prefers a “dry
(center), wet (left), wet (right) Stereo rig. The Multi-Soak feature broadens the spectrum of applications for the SLAVE OUTPUT and makes it
a little easier to handle “volume-wise” in a live environment.
Well that’s about it for the features of the Royal Atlantic™… now it’s about taking her out for a cruise and seeing what she’ll do in the wide open
sea of your creativity. Thanks so much for your interest and support… all of us here at MESA/Boogie value it above all. We know we work for
you… and as we focus each day to hand-build the very best instruments possible and earn your respect. Our most precious reward is the trust
you put in us to be your voice and your amplifier company. Cheers and Enjoy!
SAMPLE SETTING:
Here’s a quick setting that will give you a quick tour of the basic sound of the Modes in the Royal Atlantic.
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER

PAGE 4
HELPFUL HINTS:
Cut the cable tie that holds the AC Power Cord to the Rear Tube Cover and connect it to a Grounded AC wall socket.1.
Connect the Stereo ¼” Footswitch Cable to the Front Panel ¼” jack labeled FOOTSWITCH using the supplied Stereo Cable.2.
Set the amplifier (and at least one speaker cabinet) on the floor you will be standing (or sitting on) while playing to complete the3.
coupling circle that occurs. This will make the amplifier sound better, as well as feel better to play, because the sympathetic loop
created by the transmission from your hands to the guitar to the amp to your guitar to your hands remains unbroken.
Using the Multi-Soak™ Power Attenuators at the maximum (last two) attenuation settings with the Channel MASTER volume4.
controls set high (to achieve highest blend of power tube clipping) will wear your power tubes down at an accelerated rate. If you
do use the Multi-Soak feature extensively as part of your everyday sound palette, don’t be surprised if you start noticing power
tube wear and compromised (dull, flat and lifeless) tone within a couple months or even sooner.
Use the 50 Watt POWER setting on the Front Panel POWER switch to achieve clipped sounds at the top end of the VOLUME5.
control in the CLEAN Mode.
The TREBLE control is effective at adding additional gain to clipped sounds in CLEAN with the VOLUME cranked (5:30). Try6.
setting the TREBLE higher (2:00 – 3:00) and reduce the MID to achieve more warmth.
There is substantial top end carried in the MID control along with the midrange frequencies it adjusts. Some like to run the MID7.
higher and then reduce top end at the TREBLE control.
Our suggestion in the HI Mode is to use the Soak with tone in mind and follow this obvious and simple scheme; If you8.
want to add power section overdrive to an already gained-out sound with the Multi-Watt Soak – Reduce the setting of
the GAIN control accordingly. In this way you stand a better chance of arriving at a sound that is a beautiful blend of preamp
saturation and power amp overdrive.
IMPORTANT: Using the Multi-Soak Attenuators frequently will cause increased power tube wear and shorten their Toneful life. This
wear is more rapid if the attenuation is extreme – as it is in the two most attenuated positions (-12db and -16db) of the rotary control. If
you use the Multi-Soak as an integral part of your daily Tone palette, you can expect a relatively short life-span (2-4 months) from your
power tubes. In comparison, someone using the Multi-Soaks as a strategically applied effect for recording or small venue inspiration
would likely get 6 months to a year or even more from a set of tubes before they noticed any degradation in the sound.
Now that you have an overview of the features of your Royal Atlantic, let’s get specific with the modes and controls to help you
better understand how to get the sounds you are looking for and apply them to your music.
BeFOre YOU STArT:

PAGE 5
THE CHANNELS / MODES:
CLEAN CHANNEL: This is the lowest gain of the three Modes in the Royal Atlantic and is based on the classic California
“black face” era circuits. It also draws heavily from our MARK I and MARK V Boogie clean modes - where it inherits the sweetness
and springy, bouncy attack characteristics. This Mode is aimed at vintage-
inspired clean rhythm playing and produces sparkling top end harmonics,
articulate - but never harsh - mids and deep fundamental low end that
breathes with three-dimensional air.
Lower settings of the VOLUME control (10:30 – 1:30) will allow more of
the top end harmonics to slip through the circuit and produce a stripped,
skinny sound that is perfect for R&B and Country styles. As the VOLUME is increased past this range, more rich low mids and bass
will start to appear, rounding out and filling in the sound. This range is great for Rock clean rhythm sounds where more punch and
attitude are in order. With the VOLUME maxed (5:30) the sound is fat with low mid girth and, depending on the pickups being used,
headroom is minimal and you are most likely going to experience some tube clip in the preamp. If the amp is being played loud you
may be clipping both the preamp and the power section. If you wish to emphasize this clip characteristic and really get things break-
ing up in the CLEAN Mode, switch the Front Panel POWER switch down to 50 watts and you will attain more clip at a lower overall
volume level.
The taper of the pot used for the VOLUME control in the CLEAN Mode is very slow and gain is increased very gradually from the
bottom of the pot (7:30) throughout the first 2/3 of its taper (2:00). Above this range (2:30 – 5:30) gain starts to increase more rapidly
and there is somewhat less resolution available as the gain fills in the sound.
The CLEAN Channel works especially well with the Multi-Soak™ feature to achieve clipped solo and old school crunch rhythm sounds.
By switching in the CLEAN Attenuator and increasing the MASTER control, you can add power section overdrive in varying degrees
to the clip available in the higher region of the preamp. This scheme works great when you want to retain the urgent character
and dynamic response of a more vintage gain structure, but need to add some power section overdrive and keep the volume level
reasonable.
NOTE: Using the Multi-Soak Attenuators frequently will cause increased power tube wear and shorten their Toneful life. This wear is
more rapid if the attenuation is extreme – as it is in the two most attenuated positions (-12db and -16db) of the rotary control. If you
use the Multi-Soak as an integral part of your daily Tone palette, you can expect a relatively short life-span (2-4 months) from your
power tubes. In comparison, someone using the Multi-Soaks as a strategically applied effect for recording or small venue inspiration
would likely get 6 months to a year or even more from a set of tubes before they noticed any degradation in the sound.
HI / LO CHANNEL: This Channel contains two Modes of operation and roams the mid to high regions of gain with a smooth – and
extremely useful – overlap between LO and HI at the upper end of the Classic Rock gain-o-sphere. Both the Modes in this Channel
lean heavily on the British side of the Atlantic and between
them they deliver everything from the classic gut-punching
break-up for crunch rhythm work on up to soaring, saturated
single note sounds with virtually infinite sustain.
FrONT PANeL: CO N T r O L S & Fe A T U r e S
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER

PAGE 6
FrONT PANeL: CO N T r O L S & Fe A T U r e S (Continued)
LO: LO delivers the classic Brit character and response and is all about versatility. With a gain spectrum that begins with a
vintage-inspired clean range (7:00 – 10:30), transitions through a dial friendly zone of tight, percussive, open and dynamic crunch
sounds (10:30 – 2:00) and ends with a broad spectrum of more saturated – but not too compressed – heavy rhythm
or lead sounds (2:00 – 5:00), LO does it all. This range of gain and stylistic flexibility creates possibly the most use-
ful Mode in the Royal and don’t be surprised if LO becomes your go-to Mode for so many sounds. It rides the line
between clean and dirty with subtle accuracy and astonishing conviction, delivering a huge palette of sounds.
This chameleon-like nature is further appreciated when you start exploring what the CLEAN Channel can do with
the Multi-Soak™ feature. As you find clipped or overdriven sounds using the CLEAN Channel in conjunction with
the Attenuators, the lower range of LO shows its value as an alternate clean sound. In this scenario run the GAIN low (10:00 – 11:00),
the MID scooped (9:00) and the BASS higher (2:00 – 3:30) to achieve more sparkle, breath and dimension. LO works extremely well
for Brit-Vintage rhythm work… where its percussive nature shines, keeping things exciting in the time domain while it delivers the right
kind of top-end that chimes and chirps and yet remains warm enough to sound rich and soulful.
LO also really showcases the Royal’s EL-34 power section and - whether or not the Multi-Soak Attenuator is used to enhance the clip –
the preamps classic Brit mid- gain personality is perfectly matched to make the most of the EL34’s skinnier, more stripped footprint.
Because the gain range of the LO Mode tops out before it gets too compressed and saturated, it is the more likely candidate (between
LO and HI) for frequent applications of the Multi-Soak™ Attenuation feature. It will remain tighter and more focused as you dial in
additional power section overdrive by increasing the MASTER and clamping down the output with the Soak. LO will handle (remain
tight and focused) the most extreme Soak settings (-16db and -12db) but not quite as well as the CLEAN Channel because, especially
at the upper end of the GAIN control, there is a substantial amount of preamp “squash” and natural tube compression. We have found
the lower and middle ranges of the GAIN control in LO combined with the upper two Soak settings (-8db and -4db) seem to work best
and retain the most musical blend of saturation and openness (uncompromised dynamic response).
You’ll come to appreciate the accuracy, nuance and especially the urgency of LO as you find sounds across its gain spectrum becom-
ing an integral part of your expression. It’s a formidable ally for clean, pushed and crunch rhythms as well as tight-tracking single note
sounds that will bring years of enjoyment and inspiration.
HI: This Mode is all about Modified. Modified Brit to be exact. HI adds another gain stage and thicker low-end, increased low-
mid attack and layers of high harmonics to create a sound that is heavy and menacing, yet still retains its tight, percussive nature
and fast tracking response. This Mode is great for throaty edge-of-clip blues and roots styles in the low region of
the GAIN Control (8:30 – 11:00), giant, aggressive crunch rhythm and explosive, dynamic single note jabs in the
middle range (11:30 – 1:30), then it transitions into molten, soaring lead sounds that offer near infinite sustain and
ridiculous saturation at the top of the GAIN control (1:30 – 5:00). One surprising thing about HI is, that while the
gain available at the upper region of this Mode is possible the highest ever found in a MESA, (that’s saying a lot)
it is quite well behaved in terms of noise and stability. Also HI tracks your playing accurately despite the complete
and utter saturation of the notes that occurs here.
Because of the incredible amount of gain available here, HI is not as Soak friendly as CLEAN and LO and discretion must be used
to achieve musical results. The lower range of the GAIN control works best with the Multi-Soak Attenuator and much above 12:00
noon the attack really begins to suffer, becoming mushy and indistinct. This is because the Soak is capable of adding substantially
more gain to an already saturated signal and the HI mode, quite frankly, doesn’t need more gain. In fact the fast, tight and percus-
sive nature of the Royal running in Full Power with no power attenuation in place, seems to serve up HI in the best way possible.
The added brightness of the EL34’s running wide-open and unleashed keeps things articulate and clear. The slight darkening that
can sometimes be a sideline quality as you start to clamp down the power lower and lower does not serve this super-charged gain
machine as well as it slows things down and imparts mush. Our suggestion in the HI Mode is to use the Soak with tone in mind
CLEAN
HI
LO
FT. SW.
CLEAN
HI
LO
FT. SW.

PAGE 7
FrONT PANeL: CO N T r O L S & Fe A T U r e S (Continued)
and follow this obvious and simple scheme:
If you want to add power section overdrive to an already gained-out sound with the Multi-Watt Soak – Reduce the setting
of the GAIN control accordingly. In this way you stand a better chance of arriving at a sound that is a beautiful blend of preamp
saturation and power amp overdrive. Virtually all the classic and identifiable guitar sounds have been created as a result of a perfect
blend of these two types of amplification. Here in the Royal Atlantic – possibly for the first time ever – you have ultimate control over
these two important stages and with finesse and taste applied, you should be able to craft truly amazing original - and classic - guitar
sounds.
THE CONTROLS:
Though there are two separate Channels in the Royal Atlantic, the controls are virtually identical in their roles and how they operate.
The only difference between the Channels is the obvious inclusion of a separate MASTER volume control that is dedicated to the LO
Channel. Because of this similarity in the control layout of the Channels, we will discuss them together and where there are important
settings information or differences, we’ll point them out.
CHANNEL SELECT: This 3-position mini toggle switch determines which Channel/Mode is called up when the Footswitch is not
connected. It triggers an LED indicator next to it and also, to assist you on stage, a small LED next to the MASTER of the Channel/
Mode you are currently in.
NOTE: To use the Footswitch to select Channels/Modes, select the center CLEAN position of the Toggle and con-
nect the stereo Footswitch Cable to the Footswitch Jack on the Front Panel. On the Footswitch, the Button on the
Left toggles you between the Channels (CLEAN & HI/LO) and the button on the right Toggles you between the HI
and LO Modes in the (overdrive) HI/LO Channel.
GAIN: This is, by far, the most powerful control in the Royal and its setting determines the style and personality of the Modes.
It meters the gain in different tube stages depending on the Channel and Mode called up – and it sets Input Stage headroom - which
determines whether the sound will be clean or overdriven. It also acts as a subtle Tone control as the tube stages’
gain is increased and decreased and imparts its own “color” on the sound.
In all the Channels, there are three regions of the GAIN control – a low gain zone between 8:00 - 11:30, a warmer,
more saturated zone from 11:00 - 2:00 and a higher gain zone from 2:30 – 5:00. Each of these zones can be used
for many different applications and all can be used for both chording and single note solo work. As the GAIN control
is swept throughout its range it imparts different textures and tonal characteristics.
Generally speaking, the lower end of the control (8:30 – 11:30) in both Channels and Modes produces a brighter, more open char-
acter that has more dynamic content available. This region is great for clean, sparkling chording in Channel 1, where the maximum
headroom is available, the top end harmonics are bubbly and the attack is lightning fast. The HI and LO Modes in Channel 2 are tuned
to deliver amazing threshold sounds in this zone where the gain is warm and furry, but there is still plenty of the guitar’s personality
intact. This zone is great for all the Channel 2 sounds when used for clipped chording, as there is plenty of dynamics intact that have
not yet been compressed by too much saturation.
The middle region of the GAIN control (11:00 – 2:00) is where the most balanced sounds live and you will find this region delivers
warm, full sound, detailed attack and good dynamics and the Tone controls still have a powerful effect on the signal. The Channel 1
CLEAN delivers great chording response and sound richer and have more body here. Depending on pickup style and strength you
will have to watch for clipping as you are nearing the crossover point gain-wise. Some of Channel 2’s best sounds are to be found
here as things start smearing nicely as they start getting into delicious tube overdrive. As you approach 2:00 there will be plenty of
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER

PAGE 8
FrONT PANeL: CO N T r O L S
saturation to keep chords grinding and single notes hanging – but not too much to start compressing the life out of the sound. If you
aren’t getting great results in this region for your gain sounds in Channel 2, you may want to look at trying some pickups with a bit
hotter output.
The highest region of the GAIN (2:00 – 5:00) is all about saturation. Up here the signal gets much fatter in the low end and the top
end begins to recede to create a round, compressed sound. Dynamics become slower with lower peaks and a more legato, creamier
feel is produced. In Channel 1 the high end of the GAIN control produces some great clipped clean sounds as the Input stage gives it
up and starts to saturate.These sounds are further enhanced by the 50 Watt Power Mode and the Multi-Soak™ Attenuation feature,
where you can add additional power clip to the preamp drive.
Channel 2 gets truly wild at the top end of the GAIN control and both Modes unveil their true potential as solo Modes. There is ample
gain up here to rip into any style you wish with the HI Mode pumping out ridiculous levels of thick creamy overdrive for soloing. With
the GAIN maxed in HI you can achieve virtually infinite sustain… if you can keep your guitar stable and from feeding back. The more
midrange-prominent character of LO and HI allows you to still have good articulation up here even with amounts of saturation that
would turn most circuits to useless mush.
At the highest GAIN settings you will notice the Tone controls have a diminished effect on the sound as the notes are so saturated
and their character has been pre-determined by the way each Mode is voiced and how it reacts to this level of gain. May we humbly
suggest using the GAIN in its middle range whenever possible to achieve the best balance of overdrive and still retain the full shaping
power of the Tone Controls. Also, your attack will remain definitive and focused in the middle range and not get over-saturated and
“slowed down” as it can in the highest region of GAIN settings.
TREBLE: While the VOLUME is the most powerful control in the Royal Atlantic, the TREBLE comes in a close second. The
TREBLE is responsible for shaping the character of the entire Mode/Channel. It can overpower the rest of the Tone controls easily
and therefore its setting is crucial to a rich and balanced sound in all three Modes. In fact, the TREBLE feeds the
signal to the MID and BASS controls and acts like a valve for their signal strength.
When the TREBLE is set in its higher regions (2:00 – 5:00) it is sending a smaller signal to the MID and BASS con-
trols and they will be less active and the dominant character will be one of very bright, TREBLE-heavy frequencies.
Conversely, a very low setting on the TREBLE will produce sounds that are perhaps a little BASS heavy and overly
dark as a very large amount of signal is shoveled toward the MID and BASS controls. So you can see that setting
the TREBLE with taste in mind and care is critical for the Tone control string to work in harmony.
In both Channels and their Modes the middle region of the TREBLE delivers the best balance and creates sounds that are plenty
bright enough but still rich and warm. We suggest that you start with the TREBLE at 12:00 and adjust up or down slightly until the
desired blend is achieved.
In the HI/LO Channel, the MID control carries frequencies that are somewhat close to the TREBLE, along with the upper mid and
lower mid frequencies it is centered around. Use this idiosyncrasy of Brit style architecture to your advantage and experiment with
setting the TREBLE lower than “normal” and running the MID up a bit and vice versa. Some very cool sounds can be found with
the TREBLE lower and the MID higher. Be sure to check this interaction between these two powerful controls, as it will be critical in
achieving the sounds you hear in your head.
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER

PAGE 9
FrONT PANeL: CO N T r O L S (Continued)
MID: The MID control in the Royal, while very powerful, acts a little more like a standard tone control and doesn’t have quite the
massive global shaping power of the VOLUME and TREBLE controls. However, its setting does impart a strong character on the sound
of all three Modes. It brings in and out a broad band of midrange frequencies and - as we have mentioned earlier in
the TREBLE section – along with these rides a fair amount of higher “low treble” range frequencies. These highs are
lower than that of the TREBLE, but they are important for the punch and cut of the sound in a mix.
For rhythm playing in the CLEAN Mode, a lower MID setting (7:30 – 10:00) scoops some of this midrange attack and
makes the bottom end breathe more. This range will also make things more resilient and create an easier to play,
more elastic feel on the strings. Single coil guitars work very well here for the slinky, rubber band attack and bouncy
bass character associated with Blues, R&B and Country clean styles.
The middle region (10:00 – 1:00) is where the punch and attack begin to come on with more urgency and this is where mahogany
guitars really like to see the MID set for adding the cut and definition. Here the top end begins to show itself in the mix of the MID
controls’ spectrum and chording sounds start to chime and slash with a more forward – and very present – character.
From here on up (1:00 – 5:30) the MID introduces an aggressive range of sounds that are still full, but quite forward as the dominant
frequencies become those present under control of the MID. In this range you will likely have to increase the BASS to add back in the
richness and warmth that gets overshadowed when the MID control is set high. If you like the attack and urgency found in this range
of the MID, all the other controls (except maybe the MASTER, which you may have to back down as the sound gets more forward)
may have to be set higher to keep up with the MID dominant curve. This is fine, although there will reach a point of diminishing return
as the headroom in the preamp gets eaten up by this tonal arms race and you begin to clip the preamp with the high signal from the
Tone control string.
For gain sounds in the LO and HI Modes, a similar story unfolds as the MID is increased. Lower settings (7:30 – 10:30) will produce
wider sounding, more elastic feeling chording sounds and the single notes will have a more creamy, smooth character. High harmon-
ics created by the gain and controlled largely with the TREBLE, will put a patina of three-dimensional haze on things that smears
nicely with vintage soul.
As the MID is increased past the 10:00 range, cut and bite begins to creep in along with the chesty midrange punch. This is where
some classic Brit crunch is found in the middle range of the VOLUME control in the LO Mode. This MID kick is an integral part of the
impact and tight-tracking accuracy of this iconic mid-gain sound that has been a Rock staple for the last four decades. In HI, the single
notes leap forward with greater authority and speed and the warmer, juicier sound begins to give way to a fire-breathing blowtorch of
gain… especially at high VOLUME settings.
Passing the 1:00 mark unleashes the brash attitude pent up in the MID frequencies and top end joins the party in a big way. Here is
where you look for the most forward and aggressive attack over a wider range than that of TREBLE control. The feel on the strings
will become less forgiving and your playing will be put under a microscope in the time domain. This region is great for pushing Rock
rhythm sounds to the forefront of a mix in LO, no matter how much gain you thicken it up with on the VOLUME control. Single note
solo sounds in HI will be lightning fast and deadly accurate and certainly will be heard by all, as they will have a definite point of origin
in the bar line.
One suggestion, or maybe more of a word of caution… the MID control contains frequencies that can be a little tough on the ears
if not used with some discretion. Be sure to put your head down by the cabinet at some point and sample what you are dealing out
to the audience and/or the microphone. You might be surprised how much impact – and possibly even pain – can be dialed in with
higher settings of the MID. Unless you are out to hurt people, which is never a good idea, you may find the middle to lower range
of the MID gives you plenty of attack and definition but still sounds balanced and warm and lets others enjoy your playing without
wincing at every note.
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER

PAGE 10
BASS: Much like the MID, the BASS control responds like a typical Tone control and blends in a fairly wide slice of rich bottom end
to round out the sound. Internal switching that occurs when the different Modes are selected re-voices the frequency and amount of
bass present for each circuit. This difference is crucial to the sounds and a big part of their character.
The CLEAN Mode incorporates a much lower bass frequency that adds depth, dimension and air to the sound.
Both LO and HI utilize a higher frequency of bass that produces a more resonant, thumping quality and keeps
things tighter and more bouncy. This frequency can be used in greater proportions as compared with the lower –
and possibly more tone-dangerous – frequency used in the CLEAN Mode. Therefore the need to be able to have
different amounts of these two different frequencies is critical to both great sound and great footswitching compat-
ibility between the Channels/Modes.
In the CLEAN Mode we like the balance of the BASS control when it is blending in warmth and body, but not overpowering the attack
and sparkle in the mix. Depending on the setting of the VOLUME control this can be different, as the lower VOLUME settings can
handle a little higher BASS settings. You will have to experiment with the exact spots and below is a rough guideline example, but
basically, as VOLUME goes up - BASS should come down;
Example:
With the VOLUME at 12:00 – BASS at 1:00
With the VOLUME at 1:00 – BASS at 12:00
With the VOLUME at 2:00 – BASS at 11:00
The higher frequencies found on the BASS control in the LO and HI Modes are much more forgiving and can be used in higher
amounts than the lower frequencies present in CLEAN. BASS settings between 12:00 and 3:00 will be commonplace - with lower
VOLUME settings needing higher BASS settings and higher VOLUME settings calling for a more careful use of the BASS. As the
gain goes down (VOLUME 9:30 – 12:00) and things get tighter, there is a need for the rich low-end air that is created by the BASS
control. When the gain saturates things as it’s cranked up (VOLUME 12:00 – 5:30), the notes thicken up and less bass is needed to
create girth until - at a certain point - the bass frequencies start to slow things down and can even get in the way for some styles.
MASTER: This control determines the overall output level of each Channel and is located at the very end of the preamp. By using
it in combination with the GAIN control, any amount of preamp signal strength – gain – (within a Modes’ parameters) can be achieved
at any playing volume. Once you have dedicated the Channels to their respective sounds with the Modes
and Controls, you can then balance the volume levels of the Channels using the MASTER controls.
In addition to adjusting the playing loudness of the Channels/Modes, the MASTER functions as an EF-
FECTS RETURN control for the EFFECTS LOOP when the LOOP is activated (by connecting plugs to
the LOOP SEND and RETURN jacks).
For general applications and to get the best performance out of all the Modes we recommend MASTER settings in the 9:00 – 12:00 range
with most people settling in around 10:00 – 11:00 for average playing volumes. Of course, when using the Multi-Soak Feature to add
additional power overdrive, you will switch in the desired amount of attenuation and probably use higher settings of the MASTER.
Some purists like to run the MASTER all the way up and raise the GAIN until they reach their desired sound – thinking that this
achieves the purest sound. In theory, they believe this resembles removing the control altogether from the signal path, and in a way
FrONT PANeL: CO N T r O L S (Continued)
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER

PAGE 11
it does. However most all the “vintage non-master” amplifiers they are seeking to emulate have discrete resistors in that place in the
circuit anyway to adjust or “tune” the output of the preamp to the power section sensitivity.
The MASTER is nothing more than a variable resistor that offers an infinite range of settings possibilities and makes the amplifier many
times more versatile with no sonic penalty. If you prescribe to this old school approach, then by all means, use the Royal Atlantic this
way… it won’t hurt the amplifier. However you will be severely limiting the potential sounds you can achieve by removing the limitless
great sounding combinations of GAIN and MASTER settings.
NOTE: Using the Multi-Soak Attenuators with the MASTER control cranked way up frequently will cause increased power tube wear
and shorten their Toneful life. This wear is more rapid if the attenuation is extreme – as it is in the two most attenuated positions (-12db
and -16db) of the rotary control. If you use the Multi-Soak as an integral part of your daily Tone palette, you can expect a relatively
short life-span (2-4 months) from your power tubes. In comparison, someone using the Multi-Soaks as a strategically applied effect
for recording or small venue inspiration would likely get 6 months to a year or even more from a set of tubes before they noticed any
degradation in the sound.
MULTI-SOAK ON/OFF: This mini toggle switch engages the Multi-Soak Power Attenuators and brings the three individual attenu-
ation Rotary controls on the Rear Panel on-line. As mentioned in the OVERVIEW, there is one attenuator dedicated to each of the
three Modes and to operate, this mini toggle must be set to the ON position.
NOTE: If you ever find yourself turning on your amplifier to discover a low or weak output level, check the setting
of this switch and the Rotary controls in the Multi-Soak section of the Rear Panel. It is possible you last used
the amplifier with the soaks engaged and set low – thus creating a low volume scenario.
STANDBY: Perfect for set breaks...this toggle switch also serves an even more important purpose. In the STANDBY position (switch
up), the tubes are at idle so that during power up they may warm up before being put to use.
Before the power is switched on, make sure the STANDBY switch is in the STANDBY position. Wait
at least 30 seconds and then flip the STANDBY switch to its ON position. Following this simple warm up
procedure helps in preventing tube problems and increases their toneful life substantially.
POWER: 50W / 100W This 3-position switch is the AC MAINS Power switch and it does double duty; it supplies the AC main volt-
age and it also allows you to choose between two global power ratings, 50 watts 100 watts. The center position is the POWER OFF
position and from there you can select either two tubes for 50 watts of power or 4 EL34’s for 100 watts of
headroom. When running the 50 watt position, two of the power tubes are put in a standby mode where
there is still voltage on them to keep them warm, but they are effectively “off line”.
FrONT PANeL: CO N T r O L S (Continued)
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
MULTI-SOAK™
STANDBY
ON
POWER
0
50W
100W
MULTI-SOAK™

PAGE 12
Now that you have a grip on the controls and features of the Front Panel of your Royal Atlantic, let’s get familiar with the Rear Panel
and its features.
FUSE: This is the A.C.’s (Alternating Current) main fuse and provides protection from outside A.C. fluctuations as well as power
tube failure damage. Should the FUSE blow, replace it with the same rating in a Slo-Blo type package. The domestic U.S. version
requires a 4 amp Slo-Blo FUSE. A power tube short or failure is often the cause of a blown FUSE...Follow the cold start procedure
mentioned in the ON/STANDBY switch section and watch the power tubes as you flip the STANDBY to the ON
position. If a power tube is going bad or is arcing you will see it! Flip the STANDBY switch to Standby immediately
and replace the faulty power tube and the FUSE if necessary.
If you see nothing abnormal as you switch the STANDBY on, it is possible that a power tube shorted temporarily and
blew the FUSE. If this is the case it may work again normally. To be safe, you might want to replace just the adjacent
tube or all power tubes in the “shotgun” troubleshooting tradition and save the replaced set as spares. Spare fuses are
a must for the fabled cord bag along with your spare tubes. Always carry both for they could be worth their weight in gold someday.
CHANNEL ASSIGNABLE MULTI-SOAK™:These three rotary controls may just revolutionize the way you think of - and use
– a guitar amplifier forever more. They allow you, for the first time in one amp, to dial in any amount of power section overdrive with
the MASTER in each Channel/Mode and reduce the listening volume to one of four “more reasonable” volume levels. This ability to
add the desired amount of power saturation - while at the same time “soak-up” the excessive
volume (loudness) you can’t use, opens up a whole new realm of control and expressiveness
to you that was simply unavailable before the Royal Atlantic.
In effect, the four levels of attenuation offer nearly limitless power ratings across the usable
spectrum of wattage. The levels are graduated evenly in 4 db increments once the SOAK is
engaged, beginning with the 0db/100W “Bypass” position being “no attenuation” and delivering
the full 100 watts of power. This fifth “BYPASS” position allows you to use the Soak(s) where you want them and leave other sounds
unaffected. Once the SOAK is engaged you have a choice of -4db, -8db, -12db and -16db with the -16db position putting out the
rough equivalent of 3 watts of output power. The wattage is not really relevant and only included as a rough pointer, while the volume
reduction is big news… as this is what allows you to really use (hopefully not abuse) your power section.
This is probably the time to remind you once again, that the MULTI-SOAK™ feature allows you to run the power amp much louder
than would otherwise be possible – or at least socially acceptable. Along with this power comes the responsibility not to abuse it.
The use of the more extreme attenuation settings (-12db and -16db) in combination with high MASTER settings puts additional stress
on the power tubes and creates additional heat. This will reduce the Tone-full life of your power tubes and increase your maintenance
costs as you will “burn through tubes” at an accelerated rate.
So may we suggest using the MULTI-SOAK feature “responsibly” and artistically - as a way to embellish the already great sounds of
the Royal’s incredible preamp, rather than relying on it as the center-point of your sonic palette.
NOTE: If you use the Multi-Soak as an integral part of your daily Tone palette, you can expect a relatively short life-span (2-4 months)
from your power tubes. In comparison, someone using the Multi-Soaks as a strategically applied effect for recording or small venue
inspiration would likely get 6 months to a year or even more from a set of tubes before they noticed any degradation in the sound.
reAr PANeL: CO N T r O L S & Fe A T U r e S
Royal Atlantic RA-100 Combo
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E

PAGE 13
NOTE:WARNING! Never grab the PowerTubes after playing with your bare fingers – especially when the MULTI-SOAK ATTENUATORS
have been used! TUBES WILL BE EXTREMELY HOT AND CAN CAUSE SEVERE BURNS. THE CHASSIS AND SWITCHES CAN ALSO
BECOME VERY HOT. USE CAUTION WHENEVER TOUCHING THE AMPLIFIER AFTER USE. USE GLOVES OR SOME OTHER FORM
OF HAND PROTECTION WHEN GRABBING TUBES.
H.T. FUSE: This fuse and indication LED provide additional protection to the circuit should a power tube arc or fail. In an amplifier that has
the ability to reduce the listening volume of extreme output settings, this level of protection is warranted and welcome. Should a power tube fail,
it will first blow this High Tension fuse and reduce the likelihood of circuit /component damage. If you ever hear a strange
hum or “shorting” noises, hit STANDBY right away, then look here to see if the Red LED is lit indicating a power tube failure
and the H.T. Fuse going open. If it is lit, shut the amplifier off and replace this fuse with a 1 amp “Fast Blo” type fuse and
the faulty power tube (you should see it glowing red hot in the center). Sometimes it may be necessary to replace the
adjacent power tube as well, as it may have been damaged when its nearest neighbor shorted.
NOTE: See Troubleshooting Guide at the rear of this manual for more information on tube replacement.
FAN SPEED: This two-position switch allows the selection of two different Cooling Fan speeds. The choices are HIGH and LOW, with
the preferred position being HIGH for the best cooling and tube life. We recommend leaving the FAN in the HIGH position for all applications
that don’t require physical silence in the room such as recording sessions or very low MASTER settings when practicing alone. It
is important to keep the FAN on HIGH when the MULTI-SOAK ATTENUATORS are in use - as this feature can potentially create
additional heat, especially at high MASTER settings.
NOTE: IMPORTANT! USE the HIGH setting of the Cooling Fan whenever possible, especially when MULTI-SOAK is in use to “clamp
down” high MASTER settings. This will help avoid excess heat and reduce the likelihood of tube failure.
EFFECTS LOOP: The Series EFFECTS LOOP handles outboard signal processing aboard the RA-100 and provides a seamless inter-
face for units that don’t want to be “in front of the preamp” such as Delay, Chorus, Flange and Pitch based effects. The Loop SEND is derived
from a source at the end of the preamp and the RETURN is inserted back into the signal path near the input to
the power section. The Loop is basically a patch point at the junction of preamp and power amp and this scheme
delivers the best signal to noise ratio and the least degradation of signal for most outboard devices. The SEND
signal level is determined by the setting of the MASTER volume controls in the Channels and at “normal” volume
levels the signal should be appropriate for most processor’s input stage. At extreme levels of the RA-100 – either
very high or very low – it may be necessary to adjust the Input of your processor to avoid distortion (set too high)
or excessive noise (set too low).
Some rack processors have an Input pad that allows selection of both Line (+4db) or Instrument (-20db) level signals and the RA-100 EFFECTS
LOOP SEND signal can fall – depending on MASTER settings – between these two regions. Experiment with your device(s) and use the
Input meter (if available) and the Input attenuator to adjust Input levels until unity gain is reached. If you are unsure, simply yank the SEND and
RETURN cables from the EFFECTS LOOP and if the signal gets louder – you’ll need to increase either Input or Output or both at the processor
and repeat until the level stays relatively the same as you remove and re-insert the processor cables in the Effects Loop.
Overdrive pedals or Gain Boosting devices will usually want to see the guitar’s output signal as a “Send” and the front (Front Panel Input) of the
RA-100 as the “Return” as using them in the EFFECTS LOOP may cause noise problems, a “mushy” attack or even feedback. Wah pedals
also tend to work best in front of the amp.
The RA-100 incorporates switching-type jacks and therefore, when there are no patch cords and/or devices connected to the SEND and
RETURN jacks, the LOOP is BYPASSED.
reAr PANeL: CO N T r O L S & Fe A T U r e S (Continued)
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E

PAGE 14
REVERB: This duo of switches allows engagement and control of the RA-100’s lush all-tube Reverb circuitry. The Reverb section of
the RA-100 features a True Bypass that routes the signal completely around the Reverb tube stages and all associated circuitry as well
as a pre-selectable Reverb Defeat switch that enables you to assign the Reverb to specific Channels/Modes.
The BYPASS switch is just that and is included for all you vintage minded Tone aficionados, so that you can enjoy
the RA-100 sounds in a worry-free state of mind… confident that there is nothing in the signal path that isn’t pure
Brit and vintage approved. Simply flip the switch to the BYPASS position and all Reverb circuitry is removed –
including tubes – and the Royal can deliver it’s urgent, touch sensitive sound in lightning fast detail and clarity.
The DEFEAT switch allows you to pre-select the REVERB DEFEAT feature and the choices are as follows;
HI – Defeats Reverb only in the HI Mode of the HI/LO Channel (CLEAN & LO Active)
ON – Reverb is Active in All Modes (CLEAN Channel, Both Modes in HI/LO Channel)
HI/LO – Reverb is Active in CLEAN, Defeated in HI/LO Channel
NOTE: The REVERB BYPASS switch must be set to REVERB (taken out of BYPASS) for the REVERB DEFEAT switch to operate.
FTSW (FOOTSWITCH): This jack is a duplicate of the Front Panel FOOTSWTCH jack and is provided so that you can route
cabling to the rear of a rack system should you ever rack mount the RA-100 in a large touring rig. It accepts the stereo Royal Atlantic
Footswitch Cable and allows selection of the Channels and Modes.
BIAS SELECT: This switch allows you to re-bias the output section to accommodate 6L6 power tubes for a fatter, smoother sound
that has a more robust low-mid emphasis and less top-end harmonic edge. As stated on the Rear Panel, THE SETTING OF THE
BIAS SWITCH MUST MATCH THE TUBE TYPE IN USE. Failure to adhere to this may result
in damage to your amplifier. For safety there is a LED indicator that lights up when the switch
is in the EL34 position. Make sure that when you swap out the stock compliment of EL34’s for
6L6’s, that you select the 6L6 position on the BIAS SELECT toggle and the light goes off.
reAr PANeL: CO N T r O L S & Fe A T U r e S (Continued)
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E

PAGE 15
SPEAKERS / IMPEDANCE SELECT These two ¼” female phono jacks and Impedance Select toggle switch are the SPEAKER
OUTPUTS for the Royal 100. If you are familiar with our amplifiers, you will likely wonder why there is a switch to select either the 4 or
8 ohm speaker taps – as opposed to the tried-and-true sets of dedicated output jacks. Because of the switching
matrix required to achieve the Multi-Soak™ Power Attenuation, the SPEAKER OUTPUTS needed to be on a
switch, instead of the dedicated jacks. When using a single 8 Ohm cabinet, select the 8 OHM position of the
switch. When using two 8 Ohm cabinets, connect the two cabinets to the Jacks and select the 4 Ohm position
of the switch. To use one 4 Ohm cabinet, select the 4 Ohm Output. It is not recommended to use impedances
lower than 4 Ohms. To Use a single 16 Ohm cabinet or two 16 Ohm cabinets, select the 8 Ohm position.
SLAVE OUTPUT / LEVEL This 1/4” jack and its associated LEVEL Control capture the entire sound of the amplifier (preamp and
power section) for use as a feed to either an effects processor(s) or additional power amps for big venue applications. The signal is
derived from the Speaker Output and is padded down and wired to the SLAVE LEVEL Control so that you can
adjust the signal strength to match your application.
There is no “speaker simulation” present at the SLAVE Output so this signal will not perform well as a “record-
ing output”. Guitar speakers have a significant amount of roll-off of the top end and many have a “bump” in the
bottom end as well and the effect of this shaping can’t be overlooked when recording guitar sounds. There will
simply be too much top end present to use any of the overdriven sounds for direct recording applications. There
is also a much larger amount of signal available at the SLAVE and these higher levels could overload and pos-
sibly damage the mixers Input section if the SLAVE is used with a high level setting. Use the SLAVE for adding additional power by
feeding “slave” amplifiers or for a feed to your effects (rack).
NOTE: Once you have taken a line out of the SLAVE you cannot go back into the EFFECTS RETURN or a feedback loop will occur
and result in a high pitched squeal.
NOTE: ALWAYS BEGIN BY SETTING THE SLAVE LEVEL TO 7:30 (All the way off) WHEN PATCHING UPYOUR SYSTEM! The signal
from the SLAVE can be quite high and an accidental high setting could cause damage to both your ears and other gear downstream
in the signal path. Always zero the LEVEL out before you power up unless you have it marked for a safe setting. Check the setting
every time you move your gear as the SLAVE LEVEL may have been moved during transport.
Now that we’ve covered the features and operation of your Royal Atlantic it’s time to enjoy the best part…the sound and feel! We
wish you many years of inspiration, fulfillment and musical satisfaction from your new Royal Atlantic.
reAr PANeL: CO N T r O L S & Fe A T U r e S (Continued)
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E
CHANNEL ASSIGNABLE MULTI-SOAK™
CLEAN LO HI
0db
-4db
-8db
-12db
-16db
3W 100W 0db
-4db
-8db
-12db
-16db
3W 100W
0db
-4db
-8db
-12db
-16db
3W 100W
120 V~
60 Hz
4 A
4 A
SLO
BLO
FUSE
BYPASS
ON
LOW
HIGH HI
HI & LO
ON
MODE
DEFEAT
6L6
EL-34 EL-34 8 OHM
4 OHM
SENDFAN SPEEDH.T. FUSE RETURN REVERB FT. SW. BIAS SELECT SPEAKERS SLAVE LEVEL
RED=EL 34
LOOP NOTE:
LOOP IS
HARD
BYPASSED
WHEN NOT
IN USE
WHEN
LED = RED
CHECK POWER
TUBES BEFORE
REPLACING
H.T. FUSE
SWITCH
MUST
MATCH
TUBES IN
USE
CAUTION! WARNING!
Unplug power to service chassis. Unplug power to change fuse.
F
U
S
E
F
U
S
E
F
U
S
E
F
U
S
E

PAGE 16
FOOTSWITCHABLE SAMPLE SETTINGS
Bright Clean, Tight Crunch, Brit Lead
Punchy Clean, Edge, Urgent Lead
Fat Clean, Grind, Molten Solo
Clipped Clean, Rock Lead, Ridiculous Gain
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER
STANDBY
ON
POWER
0
50W
100W
FTSW
INPUT
CLEANFTSW
HI
LO
HI-LO CLEAN
MULTI-SOAK™
ON
OFF
GAIN TREBLE MIDDLE BASS MASTER-LO MASTER-HI GAIN TREBLE MIDDLE BASS MASTER