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

Owner's Manua
l
1317 Ross Street Petaluma, CA 94954
USA
The Spirit of Art in Technology

We would like to congratulate you on the purchase of your new Nomad Amplifier. If you
have not yet realized the power and versatility of this instrument, we hope this manual
will provide an enjoyable tour through the many stylistic regions this exciting platform
was born to roam. Hopefully after getting to know the channels and their modes and how
best to apply them to your music, the Nomad will lead you to the yet unexplored regions
of your own creativity and leave you with the map to return confidently time and again.
Inspired by the ancient peoples who left the security and comfort of their villages and set
out in search of answers and a deeper meaning to life, these amplifiers are vehicles of
exploration. So it is in tribute to these timeless bands of spiritual wanderers...we have
named these amps Nomads. And like those for which they are named, you will find them
at home in any musical land.
Greetings from the Home of Tone
and Welcome to the Mesa/Boogie Family!

Your Mesa/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
Do not expose amplifier to moisture, rain or water, direct sunlight or ex-
tremely high temperatures.
Always insure that amplifier is properly grounded.
Always unplug AC power cord before changing fuse or any tubes.
When replacing fuse, use only same type and rating.
Avoid direct contact with heated tubes.
Insure adequate air circulation behind amplifier.
Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power supply
specifications listed on the rear of the unit.
If there is any danger of lightning occurring nearby, remove the power plug
from the wall socket in advance.
To avoid damaging your speakers and other playback equipment, turn off
the power of all related equipment before
making the connections.
Do not use excessive force in handling control buttons, switches and
controls.
Remove the power plug from the AC mains socket if the unit is to be stored
for an extended period of time.
Do not use solvents such as benzene or paint thinner to clean the unit.
Wipe off the exterior with soft cloth.
Be sure to have the warranty card filled out by the store at which it was
purchased and return to Mesa/Boogie.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANENT HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power
before removing chassis.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding conforms
with local standards.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.

Precautions
Overview & Instant Gratification________________________________________________________ 1 - 4
Tips for the Desert ___________________________________________________________________ 4 - 5
FRONT PANEL CONTROLS & SWITCHES
Gain, Master and Presence ____________________________________________________________ 5 - 7
Treble, Middle and Bass_______________________________________________________________ 7 - 9
CHANNEL MODES:
Channel 1 - NORMAL & PUSHED ______________________________________________________ 9 - 10
Channel 2 - NORMAL & MODERN_________________________________________________________10
Channel 3 - NORMAL & VINTAGE_________________________________________________________10
Graphic EQ & Sample Settings ( Nomad 100 Only ) __________________________________________11
Output & Solo Level Controls ____________________________________________________________12
Toggle Switches - HI VOLTS and AC MAINS ____________________________________________ 12 - 13
REAR PANEL CONTROL, SWITCHES & JACKS
Footswitch Connect, Fuse & Rotary Channel Select _________________________________________14
Recording Out, Speaker On / Speaker Mute and Bias Switch__________________________________15
FX Mix - Send & Return _________________________________________________________________16
Power Amp Voicing - Nomad 45 Only & 50 / 100 Watt Switch Nomad 100 Only ___________________17
Reverb _______________________________________________________________________________17
Speakers _____________________________________________________________________________17
Slave_________________________________________________________________________________18
Sample Settings ___________________________________________________________________ 19 - 25
Tube Description & Task Charts ______________________________________________________ 26 - 28
Tube Noise & Microphonics _____________________________________________________________29
Diagnosing Pre-Amp Tube Problems______________________________________________________30
Bias Adjustment: a feature article by Randall Smith_______________________________________ 31 - 33
Speaker Impedance & Possible Hook-Up Schemes - Amplifier to Speaker Cabs______________ 34 - 39
Triodes, Pentodes & Irishmen: a feature article on the workings of tubes _____________________ 40 - 42
Parts Sheets ______________________________________________________________________ 43 - 45
Table of Contents

Nomad amplifiers are available in many configurations in terms of power / speaker combinations, as well as “head only” formats. All
Nomad amplifiers share basically the same pre-amp and since most Mesa/Boogies are available in many choices as to power and
speakers, for all practical purposes, Nomad refers to this pre-amp.
Pre-Amp:
TheNomadpre-amp iscomprisedof threediscreetChannels which maybefootswitched between.Eachof thesechannels
offerstwomanuallyselectableModesofoperation.Inbasicterms,eachofthesemodesofferachoicebetweenalowergain,slightlytamer
voiceandawilder,gainierpersonality.Thisisanextremesimplificationoftheirindividualcharacterhowever,astheyallmoveeasilyacross
awide rangeof sounds,promptingusnottolimitthem withthe usualRhythm andLead nomenclature.Thusyouwillfindthemnamedand
referred to as Channels 1, 2 and 3.
The Modes have been named in each Channel for ease of comprehension and identification - especially for the first time pilot - with their
mostcommonapplicationlabeled “Normal”. (Found with the mini-toggleinthe“up” position.) When all three channelsare“normalled”the
playerispresentedwith one low-gain clean (Channel 1),onemedium-gain,turbo vintage (Channel 2) andonehigh-gainmodern channel
(Channel 3). In this way a great slice of the amplifiers many flavors can be sampled quickly and instantly from the Footcontroller.
Forthe moreadventurous, theChannelsmaybeswitchedoutoftheirNORMAL Modesand threeentirely newchannelsmaybeexplored.
Overview:
A L L T U B E A M P L I F I E R
PAGE 1
NOMAD Showing all 3 Channels
INPUT
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CLEAN
(NORMAL)
PUSHED
CH1
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH2
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH3
MODERN
VINTAGE
(NORMAL) MODERN
(NORMAL)
VINTAGE
NOMAD Showing all 3 Channels (partial views)
PRESENCE
BASS
CLEAN
(NORMAL)
PUSHED
PRESENCE
BASS
PRESENCE
BASS
MODERN
VINTAGE
(NORMAL) MODERN
(NORMAL)
VINTAGE
CHANNEL 3
CHANNEL 2
CHANNEL 1
(Switch UP to
NORMAL Position) (Switch UP to
NORMAL Position) (Switch UP
to NORMAL
Position)

Channel1switched to PUSHED revealsamuchgainier region, perfect foralltypes of dirty chording orcanbe maxed for urgenthighgain
soloing.
Channel 2 may be switched down to MODERN to unleash a tighter, meaner nature that works great for crunch rhythm or searing solo
sounds.
And Channel 3 can be switched down to VINTAGE where a more liquid, forgiving nature appears that when set low, can double as an
amazing clean mode.
Afterthe initialgratificationof theseclassic soundshasleft mostplayers amazed,theyears ofdiscoverybegin,forwhile thesesoundsare
wonderful, they are, but a grain of sand in the vast untracked wilderness Nomad wanders.
POWER:
WhileallNomadpre-ampsare the same, this by no meanslimitsplayersas to a choice of a Nomadwhichwillworkbest for
their individual style or needs. By combining this power-packed, comprehensive collection of discreet channels with three different and
distinct power section choices, there is a Nomad for any frontier.
The NOMAD 45:
boasts forty-five watts of EL-84 magic with its harmonically rich layers of bubbly, bouncy tone and patented Dyna-
Watt Power that enables this bantam weight amp to act like twice its rated wattage. This Nomad exists on two chassis’, the original
Boogie short chassis that is available as a 1x12 combo or as a short head. The littlest Nomad definitely, but by no means the understudy,
this compact dynamo may have the biggest personality of them all. The wider chassis accommodates a lightweight 2x12 combo, a 4x10
combo and a wider head for use with larger speaker enclosures. In these formats the Nomad 45 is unbelievably huge sounding and is
capable of covering much larger venues than would normally be associated with amps of this power rating.
PAGE 2
Overview: (Continued)
Models: 45, 55 & 100
RECORDING
8 OHM 4 OHM
2.5 A SB
FUSE
SEND RETURN
4 OHM
CH1
CH2 CH3
FTSW
SLAVE
TO POWER AMP
USE WITH TWO 8 OHM SPKR
COMBO SPKR
SPKR SPKR
NOMAD ALL TUBE AMPLIFIER HANDBUILT IN PETALUMA, CA
WARNING: To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
WARNING: To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
SPKR ON
SPKR MUTE
10% 100%
FX MIX
FOOTSWITCH
SOCKET
BELOW
CH3 CH2 CH1
POWER FUSE
120V
50-60 Hz
2A
2.5A
SLO
BLO
PWR AMP
NORMAL
EXTREME REVERB REVERB
HI VOLTS
ON AC MAINS ON
OUTPUT SOLO
EL-84
DYNA-WATT
INPUT
CH1
PUSHED
CLEAN
(NORMAL)
CH2
MODERN
VINTAGE
(NORMAL)
CH3
VINTAGE
MODERN
(NORMAL)
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
REAR VIEW Nomad 45
FRONT VIEW Nomad 45
45

The NOMAD 55:
represents the deal of the century withitsrobust55watts produced by two 6L6 pentodes. With ampleheadroomfor
cleanstylesand aslightlybrighter,moreaggressivenature thanitsbigger brother theNomad100, the55lives in theregionmany players
consider the perfect wattage arena. This Nomad is also available in two chassis sizes so it can be configured to taste and need. A
widebody 1x12 combo optimizes the characteristics of a wider cabinet and a rear mounted speaker to produce a bigger, breathier sound
thatis morevintage innature.Thischassissizealsoproducesagreat “headonly” package.The 55isalsoavailableasamid-weight 2x12
or 4x10 combo with a wide head also possible in this chassis size.
The NOMAD 100:
is no doubt the ruling sultan of this band. With headroom for any situation and a richness of character that is only
foundin 100 wattpower sections,itis theobviouschoice forthosewho findthemselvesin largervenues.An addedbonuscomes withthe
Nomad 100 as well with the fitting of the on-board 5 band Graphic Equalizer. A long time Mesa/Boogie tradition, this powerful shaping
tool can either be footswitched in and out at will to enhance specific sounds - or engaged as a global shaping device to accommodate
certain rooms or playing situations.
The 100’s sturdy 4x6L6 harness is found on two different chassis sizes as well, and the choices are the same as that of the Nomad 55. A
widebodyNomad1001x12comboorhead,aswellas2x12and4x10combosandawideheadforusewithanyofourclosedoropenback
4x12 cabinets producing a sound that is...yes, huge!
Overview: (Continued)
PAGE 3
CH 2
80 240 750 2200 6600
INPUT
CH 1
PUSHED
CLEAN
(NORMAL)
MODERN
VINTAGE
(NORMAL) CH 3
VINTAGE
MODERN
(NORMAL)
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
HI VOLTS
ON AC MAINS ON
OUTPUT
SOLO
FRONT PANEL Nomad 100
WARNING : To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
WARNING : To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
FUSE
HI VOLTS
ON AC MAINS ON
INPUT
MODERN
(NORMAL)
VINTAGE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CLEAN
(NORMAL)
PUSHED
CH2
CH1 CH3
MODERN
VINTAGE
(NORMAL) OUTPUT
SOLO
8 OHM 4 OHM
RECORDING SEND RETURN
4 OHM SLAVE
TO POWER AMP
USE WITH TWO 8 OHM SPKR
COMBO SPKR
SPKR SPKR
NOMAD ALL TUBE AMPLIFIER HANDBUILT IN PETALUMA, CA
SPKR ON
SPKR MUTE
10% 100%
FX MIX
CH 3 CH 2 CH 1
POWER FUSE
120V
50-60 Hz
2A
2.5A
SLO
BLO REVERB REVERB
FOOTSWITCH
SOCKET BELOW
CH 1
CH 2 CH 3
FTSW
6L6 BIAS EL34
CAUTION !
SWITCH MUST MATCH TUBES
2.5 A SB
FRONT PANEL Nomad 55
REAR PANEL Nomad 55

No matter which of these many Nomad platforms you have chosen, the basic operation is the same and the experience playing them is
oo...funandexhilarating.BeforewegettospecificControlsandChannels,herearesometipstogetyouplayingandenjoyingyourNomad
right away;
(1.) The REVERB Controls for all three Channels are located on the Rear Panel.
(2.) The Footcontroller connects to the chassis on the far left underside of the Rear Panel.
(3.) TheRearPanelChannelSelectRotaryMustbesettoFootswitchinorderfortheFootcontrollertocalluptheChannelsandFunctions.
The SOLO Control has no Effect on the signal until the Footcontroller is connected and Footswitch is selected on the Channel Select
Rotary.
(4.) The SOLO Control increases the volume from where the OUTPUT Control has been set.
(5.) TheGAINand TREBLE Controls arethemostpowerful controls in alltheChannels. Use them withtasteandremember that some of
the best sounds are found by using these two controls in their middle regions.
(6.) Extreme Volume Level Increases Occur when Ch. 1 & Ch. 2 mode switches are switched down to their alternate modes from
NORMAL to PUSHED and MODERN. Reduce Channel MASTER or OUTPUT Controls before selecting these modes !
(7.) Volume Level will drop when Ch.3 mode switch is switched down from NORMAL to the alternate VINTAGE mode. Compensate with
either Channel MASTER or OUTPUT Control.
(8.) When using the Effects Loop for external signal processing, the best tonal results will be obtained with the processors’dry / wet mix
set to 100% and the FX Mix set as close to 10% as possible.
Hopefully these tips have saved you from any frustration and now that you’ve got everything connected, we have provided a few sample
settings that you might want to try in each channel, to more quickly familiarize you with the Nomad’s sonic possibilities.
These sounds and settings are by no means the only ones possible and as always, we encourage exploration and experimentation.
Overview: (Continued)
Tips for the Desert:
PAGE 4
REAR VIEW Nomad 100
RECORDING
8 OHM 4 OHM
3 A SB
FUSE
SEND RETURN
4 OHM
CH1
CH2 CH3
FTSW
SLAVE
TO POWER AMP
USE WITH TWO 8 OHM SPKR
COMBO SPKR
SPKR SPKR
NOMAD ALL TUBE AMPLIFIER HANDBUILT IN PETALUMA, CA
SPKR ON
SPKR MUTE
10% 100%
FX MIX
FOOTSWITCH
SOCKET
BELOW
CH3 CH2 CH1
REVERB REVERB
100 WATTS
50 WATTS
6L6 BIAS EL34
CAUTION !
SWITCH MUST MATCH TUBES
WARNING : To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
WARNING : To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.

PAGE 5
Quick Demo Settings:
Before we get to each individual control and how they interact with each other, there is one thing they all have in common. They all have
“sweetspots”. Theseregions movearound theclockfaceinaccordancewithseveralfactorssuchasthe styleof soundyou aredialing for,
pick-up height, pick-up strength, your individual picking technique and the type of speaker and cabinet your Nomad is driving.
To attain the best tone and performance from your amplifier, we recommend that you spend time learning the sweet spots of each control
and how they affect the function of the other controls. This way you will be able to dial virtually any sound you wish in any channel quickly
and accurately.
The Controls:
Tips for the Desert: (Continued)
INPUT
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CLEAN
(NORMAL)
PUSHED
CH1
Channel 1 NORMAL
INPUT
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CLEAN
(NORMAL)
PUSHED
CH1
Channel 1 PUSHED
Clean Crunch
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH 2
MODERN
VINTAGE
(NORMAL)
Channel 2 VINTAGE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH 2
MODERN
VINTAGE
(NORMAL)
Channel 2 MODERN
Purring Blues Liquid Grind
Channel 3 MODERN
MODERN
(NORMAL)
VINTAGE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH 3
Channel 3 VINTAGE
MODERN
(NORMAL)
VINTAGE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH 3
Spank Blues Violin Gain

PAGE 6
The Controls: (Continued)
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 Nomad is really three separate dual mode amplifiers built onto one chassis, so though each
channel looks identical, the GAIN Control for each channel comes in a different place and adjusts a
different point in that channels circuit.
In most guitar amplifiers, 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 Nomad, the GAIN Control
iseven morepowerful. Itnot onlydeterminestheamountofdrive,butalsoactsasanintegralpart 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
bottomendresponse.Notyetfullysaturated,thisregionistheeasiestplacetogetagreatsoundinallthreechannels.Thisregioncontains
many of the Nomads’ 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 saturation
and therefor sustain, it also compresses and softens the attack characteristics. For this reason we suggest using this higher region of the
GAIN Control sparingly and only when maximum sustain is needed.
NOTE: Due to the Nomads’ extreme gain potential, the highest regions of the GAIN Control may possibly push the pre-amp tubes past
whattheycanhandle,producingmicrophonicsquealing.Whilewescreenandtestthetubesyouramplifierwasshippedwithandthetubes
inyour amppassedourrigouroustest,wecan’tpredicthowthetubeswillrespondovertimeexposedto extremegain settings.Your tubes
arewarrantiedforaperiodof6monthsundernormaluse,butyoucansaveyourselfthepresentandfutureinconvenienceofhavingtodeal
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 specific part or at very low volumes, back down the TREBLE and PRESENCE Controls. Your Nomad 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 find 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.
INPUT
CH1
GAIN
TREBLE
Brightest Most Balanced
Warmer

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
Channelisfitted with itsownMASTER Control, enabling thethreechannels relative volumestobe matched regardlessoftheir 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
volumesandconversly,highGainsoundsatlowvolumesandeverywherebetween.
Again,wesuggestusingtheMASTER Controlin itssensibleranges(9:00-2:00 ).
Here,the channelswillbe easierto matchwitheach otherandtheEffectsLoopwill
see more reasonable signal levels.
NOTE: Because the MASTER Control creates the send to the Effects Loop, ex-
tremesettingswillcause a large signaltobesent to the Loop forthatChannel.Not
only may this cause possible overloading of the processors Input stage, but will
make balancing the three channels’ Effect Send level difficult.
PRESENCE :
This control regulates the amount of negative feedback in the power amp stage and affects mostly higher frequencies.
It acts independantly of the other rotary tone controls and is crucial
in voicing the Channel. It is a powerful global tone control.
Lower PRESENCE Control settings darken and, in fact compress
thesignalwhich works welltofattensingle note solosounds,giving
them girth and focus. Some of the best lead sounds in your Nomad
will find the PRESENCE Control in its lower regions, where a bal-
anced, vocal response is achieved.
TREBLE :
As in most tube guitar amplifiers, the TREBLE Control ( in all three channels of your Nomad ) 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 first in the signal path of the tone controls - and
fromheretheMiddleandBassreceivetheirsignal-itisbyfarthedominanttonecontrol.ForthisreasonthesettingoftheTREBLEControl
is very important for equal representation of the three frequency regions to appear at their re-
spective controls. Like most of the controls on your Nomad, there is an optimum region of the
TREBLEControlwhere ample top endismixed in and yetenoughsignalis still passed ontothe
MIDDLE and BASS Controls.
Asyoumightsurmise,hereisthesweetspot.Therearedefinitelygreatsoundsaboveandbelow
this middle region ( 11:00 - 1:30 ), but the balance between the TREBLE Control and the other
two tone controls is compromised.
The Controls: (Continued)
PAGE 7
INPUT
CH1 MASTER
MID
GAIN
TREBLE
MOST SENSIBLE RANGE
EASIEST TO BALANCE CHANNELS
REASONABLE FX LOOP SIGNAL LEVELS
INPUT
CH1 PRESENCE
BASS
GAIN
TREBLE
MASTER
MID
MOST BALANCED VOCAL QUALITY
INPUT
CH1 TREBLE
SWEET SPOT

TREBLE : (Continued)
The one place you may want to throw caution to the wind and set the TREBLE Control above this median
zonepresentsitselfinChannel1.Inbothmodes(Clean&Pushed)theTREBLEControlcanbeusedtodumpextragainintothemix.This
is especially effective in the PUSHED mode for crunch sounds. When doing so use the PRESENCE Control to roll off some of the more
thanampletopend for a more compressedfeelandfatter voice. As youmightsurmise,the BASS Controls’effectivenesswillbereduced,
so you may have to run a much higher setting than you are used to seeing to achieve a balance.
MID :
The MIDDLE 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 Nomad. 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
becomea littlemore dominant)andalackofpunchlendsamorecompressed,
even feel to the strings and therefore less apparent resistance to the pick. As
theMIDDLEControl is increased,(11:30-1:30 ) thesoundis rounded-outand
filled-inwithafocusedmidattackappearingratherquickly.Asyouwouldguess,
the feel starts to change - becoming more resistant. Above this region the
MIDDLEControl couldbe usedto compensateforeitherweakerpick-upsorfor
timeswhenaspecificdeficiencyisproducedbyeitheranextremelyhighsetting
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.
Channel 1 utilizes a different MIDDLE Control than that of the Channels 2 and 3 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 fine 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 Channel 1’s MIDDLE Control is 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 PUSHED
modes to extremes. Experiment with this cranked region in conjunction with extreme settings of the other tone controls to balance both
sound and feel. While this added flexibility may make Channel 1’s MIDDLE Control a little more tricky to learn at first, it will become quite
valuable as you start to realize the power of this super versatile channel.
BASS :
Last,butdefinitelynotleastinthestring oftonecontrolswe,cometotheBASSControl.Thiscontrol workssimilarlyinallthree
channelsinthatitdeterminestheamountoflowfrequenciespresentinasound.However,theactualfrequenciesandstyleoflowsitmixes
in changes from channel to channel. Like the MIDDLE Control, it falls in line signal-wise after the TREBLE Control and the same scheme
applies.Whenthe TREBLEControlis set hightheeffectiveness of
the BASS and MIDDLE Controls is reduced. If the TREBLE Con-
trol is set low these two controls become dominant.
Forthe mostbalancedsound andabalance ofpower betweenthe
three rotary tone controls, try to use the TREBLE Control in its
middle ranges. This scenario produces nearly equal representa-
tionofallthefrequenciesonthetonecontrolsandprovidesagreat
nuetral starting point for further tweaking.
PAGE 8
The Controls: (Continued)
INPUT
CH1
MID
GAIN
TREBLE
HELPS ADD PUNCH TO
WEAKER PICK-UPS
SCOOPED AND EASY TO PLAY
INPUT
CH1 GAIN
TREBLE
MASTER
MID
BASS
VARIABLE ACCORDING
TO TREBLE & MID CONTROL

PAGE 9
BASS: (Continued)
The Bass frequencies are, as we mentioned, different in each channel and appear as follows:
CHANNEL 1: Enhanced low and sub-low regions provide warmth and most importantly, breath for clean sounds which produces a
bouncy, elastic feel and natural sounding fundamental, yet with plenty of air.
CHANNEL 2: Sub-low extension defines this channels bottom end character and produces the deepest sounds in your Nomad. This is
thefattestchannelforsinglenoteworkandchordingwillsoundhuge...especiallywhenhigherGAINControlsettingsareapplied.Ifyouare
not careful with the BASS Control in this channel - it may spoil you and leave you with a good case of EQ overhang...leaving the other
channels sounding almost “thin” by comparison.
Also, don’t be surprised if at first, Channel 2 feels slower and a bit harder to steer. It can take a while for your picking technique to adjust
topushing arounda soundof thisgirth.Youwilladjustandquicklyfindthattheseextra-low lowsmake forsome unbelievablesolo sounds.
CHANNEL3: In this channelthe oppositeapproachis takenandthe emphasisisnot onhowlow canyou go,butrather howtightcan you
get. By raising the low frequencies and focusing on how well they track - and stop after the note sounds, a totally different personality
emerges. This tracking characteristic adds bounce to both chording and single note styles and is essential for urgent high gain rock
sounds. Due to its higher, tighter nature this BASS Control may be set higher than that of the other two channels without the feel of
becoming slow or clumsy. In fact, this is the one control you can even run all the way up without worry.
NOTE: Do Not run the Bass all the way up in any channel when using the direct Recording Output ! Damage to the playback
monitors could occur. When using the direct Recording Output, start with the Bass set relatively low and set conservative ( safe ) input
levels at the console first. When levels are satisfactory you may then increase the BASS Control slowly and adjust levels as you go in
order to prevent damage to playback monitors.
Asmentiondearlier,eachoftheNomads’threechannels containtwo differentmodesso thateachchannelmaybeconfiguredfor anarray
of different sound styles. These opposing modes are selected by the mini-toggle switch located inside each channels borders. The upper
positionofthetoggleineachchannelislabeled“NORMAL”andcallsupthe“primary”soundforthatchannel.Thisschemeallowsforquick
demo tours through the three channels and provides the fastest understanding of the footswitchable possibilities with quickly identifiable
sounds. Once this configuration has been auditioned and the channels explored, the modes can be drastically modified by a simple flick
of the switch. As you will hear, these switches alter the voice of each channel radically as several different internal changes occur per
channel. How you choose to utilize these alternate sounds is up to you and experimentation can lead to some of the most versatile
footswitching you could find in any amplifier.
CLEAN / NORMAL: This is the lowest gain circuit of the Nomads six modes and is opti-
mized for producing balanced pristine clean sounds. 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,agreatplacetostartis12:30orsoontheGAINControlwithmoresparkle
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
alsoaddgainandsustaintothissound(reducePresencetoblendhighs),butyouwillprobablywanttoruntheBASSControlbelow10:30
to avoid flubbiness and preserve a focused attack.
The Controls: (Continued)
Channel Modes:
INPUT
CLEAN
(NORMAL)
PUSHED
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH1
Channel 1 NORMAL / PUSHED

PAGE 10
Channel Modes: (Continued)
PUSHED: This mode is a radical departure from the sweet shimmering blend of the CLEAN / NORMAL modes low gain character. Huge
increases in gain early on in the first stages of the pre-amp produce one of the biggest differences between modes in the entire amplifier
andtransforms whatyou thoughtto bea tameand gentleclean channelinto araging crunchmachine. Thisincredible amountof gainalso
creates one of the most expressive solo modes in your Nomad. Because there are less stages of gain for the signal to travel through and
the tone control network is tuned for the brighter nature of clean sounds, this mode responds quicker to your pick attack and has a more
urgent, snappy feel. Don’t overlook this mode for some of the Nomads’ best overdrive solo sounds.
VINTAGE / NORMAL: The first of Nomads’ high gain lead channels was endowed with an
orangeLEDindicatornotbyaccident.Thewarmglowremindedusofsmolderingembers...afire
burning warm with all the comforts of home. Upon first playing Channel 2’s VINTAGE/NORMAL
modemostplayersstop-grin-andsayoneword...FAT.Thismodehasbeenoptimizedtoround
out single notes and enrich their character with creamy, warm drive. You will quickly discover
thatthismodehasnooptimumsettingasitpresentstheentirerangeofthecontrolwithamazing
balanced lead sounds. Set low ( Gain at 9:30 and below ), it doubles as a low gain chording or
blues sound that purrs with vintage authenticity. From there on up to 3:00, many different styles
of solo sounds are available that work great with either single coil or humbucking pick-ups and
no matter how you serve it up it’s always gonna be big... huge !
MODERN: This mode had its early beginnings in an idea that sprang to life in the late eighties and found its way on to our Dual Rectifier
Solo Head called Channel Cloning. Well, as usual we ended up going far beyond the original idea and now this mode is simply a more
aggressive, over the top, hardcore version of the already monsterous Channel 2 NORMALmode. This sound is the hugest rock sound in
the Nomad and for all out girth, it tips the scales. The same stylistic ranges apply as those of the NORMALmode, but the top end of the
GAIN Control unleashes the true beast within, and should be experienced with a hot humbucking pick-up to really appreciate its footprint.
NOTE: Reduce the MASTER Control when switching from VINTAGE NORMAL to MODERN as internal changes
in the circuit increase volume levels dramatically !
MODERN / NORMAL: This mode is the hyper stallion in the Nomad camp. An enhanced
attackregionandabrighteroverallresponsecombinedwithaslightlyhigherlowendcurvegive
Channel 3’s NORMAL mode the edge when it comes to speed and agility. The nature of this
mode is the polar opposite of Channel 2’s languid, slowhand purr.
It bounces to life with the slightest of glances from the pick and can stop on a dime whether
maxed out or running stripped. Again, like Channel 2’s NORMAL, this mode handles low gain
singlecoil stylesandhighgainhumbuck soundswith equalattitude...andwedo meanattitude!
VINTAGE: This “slightly” detuned, warmer rendition of Channel 3’s NORMAL mode makes it
possibleto useChannel3 forsomeof thesoundsyou mightlike inChannel2 andthoughthe Bassfrequencies arealittle higher,they are
just as amazing. By offering a way for each channel to lean toward the other, many possible configurations appear and the footswitching
applications are expanded greatly.
You might wish to use Channel 2 NORMAL for a semi-clean rhythm mode and Channel 3 VINTAGE for a blues style solo sound. Con-
versely, you might need Channel 3 NORMAL to cover your high gain ( maybe Channel 1 PUSHED for lower gain ? ) crunch rhythm stuff
- and Channel 2 MODERN for a crazy, blistering solo sound. There are a myriad of ways to configure the Channels 2 & 3 and so many
great combinations of mode swapping that will make your footswitching allocations less confining, freeing you up to play your best.
CH2
MODERN
VINTAGE
(NORMAL)
Channel 2 NORMAL / MODERN
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE
CH 3
VINTAGE
MODERN
(NORMAL)
Channel 3 MODERN / VINTAGE
PRESENCE
BASS
MASTER
MID
GAIN
TREBLE

PAGE 11
5 BAND GRAPHIC EQUALIZER : ( Nomad 100 Only )
If you have purchased the Nomad 100 you have probably already realized
that the bonus gift of the On-Board 5 Band Graphic Equalizer is well worth the omission of the beautiful, but stoic, Nomad logo. This long
timeBoogie traditionisapowerfulshapingtoolandwhenaddedtothealready
fully evolved Channels of the Nomad, any sound you can dream of is at your
fingertips.Itmay be assigned tothesignalpath globally or footswitchedInand
Out at will.
The five wide-band sliders offer the full spectrum of frequencies in a guitar-
friendly format that is infinately easier and faster to use than either narrow-
band graphic or parametric type equalizers. There is a more gentle blend be-
tween the regions and therefore less likelyhood of holes in the tone and re-
sponse, resulting in a musically smart system of shaping guitar
sounds...especially overdrive sounds.
NOTE: When the EQ is switched out there will be a small amount ( 3% max. ) of its effect still on the signal. This small amount should
cause no problem and is considered normal. This is essential to achieve seamless footswitch operation.
Here are a few examples of how we have seen players utilize this powerful shaping device, with the classic “V” curve and its amazing
widening effect being the most popular for almost any style.
HI VOLTS
ON AC MAINS ON
OUTPUT
SOLO
80 240 750 2200 6600
EQ
IN
EQ
FTSW
80 240 750 2200 6600
3.
80 240 750 2200 6600
80 240 750 2200 6600
The fabled "V" shape ( Most Popular ) 2.
1.
80 240 750 2200 6600
4.

PAGE 12
OUTPUT CONTROL :
Thiscontroldeterminestheoveralloutputvolumeleveloftheamplifier.AftertheGAINControlshavebeenset
for the desired sound style and the three channels levels have been balanced with their respective channel MASTER Controls, the
OUTPUT Control allows you to change the playing volume level of the entire amp by adjust-
ing a single control. The OUTPUT Control is also wired as the Effects Loop Return Level
Control. Should you ever use your Nomad as a power amp alone by inserting a signal into
the RETURN jack, the OUTPUT Control will serve as the master level control.
NOTE: When using the EFFECTS RETURN as an input - to use the Nomad as a power
amp - the SOLO Control can be used to attain a footswitchable boost if the Footcontroller is
connected. It is wired in parallel to the OUTPUT Control and therefore also controls the vol-
ume of the power section.
NOTE: TheEffects LoopRETURN jackcan serveasapowerampinputsothatyoumayuse
your Nomad as a power amplifier for either stereo reproduction or to incorporate additional
pre-amps. While the possibilities for this type of application are virtually limitless, there are a
few things to remember that will help you when interfacing to the Nomad for use as a power amp only;
1.) Connect “Dummy” plug or loose cable to SEND jack. ( This prevents any possible loading that could result in diminished RETURN
sensitivity.)
2.) The OUTPUT Level Control will be the only active control on the Front Panel.
3.) The SOLO Control may be used to footswitch in a pre-determined amount of boost when the footcontroller is connected.
SOLO CONTROL :
This control can only be activated if the correct Footcontroller is connected to the Footswitch DIN jack.
SOLO is an additional final output level control wired in parallel with the OUTPUT Control. It is capable of a setting above that of the
OUTPUT Control and can not be set below. The amount of apparent boost also depends on that of the OUTPUT Control - in that if the
amplifier is at either the extreme low or extreme high levels of the OUTPUT, its effectiveness is
minimized. Its been optimized for live performance medium range volume levels.
If the power section is either not a part of the sound (super quiet), or producing all its rated
wattage ( super loud), there is very little signal for the SOLO Control to work with. By using the
Footswitch and selecting SOLO, a pre-settable boost in overall level is possible on the fly...giving
you some control over your levels when it’s time to step out. Engineers may give you a bit of a
frownthefirsttimeyouuseit...butisn’tittimeyou heardyourself. Itmight evenpreventthemfrom
punishing you with the dreaded monitor or sidefill version of your tone.
HI VOLTS :
Perfect for set breaks... this toggle switch also serves an even more important purpose. When the toggle is in the down
positionthetubesareatidlesothatduringpoweruptheymaywarmupbeforebeingputtouse.Before
A.C. Mains is switched on, make sure the switch labeled “HI VOLTS” is in the down position. Wait at
least30secondsandthenflipthisswitchtoitsONposition.Thishelpsinpreventingtubeproblemsand
increases their toneful life substantially.
FRONT PANEL CONTROLS: (Continued)
HI VOLTS
ON AC MAINS ON
OUTPUT
SOLO
HI VOLTS
ON AC MAINS ON
OUTPUT
SOLO
HI VOLTS
ON AC MAINS ON

PAGE 13
AC MAINS :
This switch delivers the A.C. power to the Nomad. 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 previous section titled “HI VOLTS” when powering up
your Nomad.
Well, now that you have an understanding of the controls and modes and how they interact with each other, its time to enjoy your Nomad
withagoodlongexplorationsession.Ridethatcamel...andwhenyourreadyforabreakwewillspin‘roundtothebacksideandtakealook
at the features residing aft. Meanwhile, enjoy and may the wind be at your back !
FRONT PANEL CONTROLS: (Continued)
HI VOLTS
ON AC MAINS ON
REST AREA

FOOTSWITCH SOCKET :
This 7 Pin DIN type socket located on the underside of the chassis accepts the Nomad Footcontroller
cable. To use the Footcontroller to select the channels and features;
1.) Connect the Footcontrollers’ attached cable here by lining up the tab on the cable with the detent on the cable sleeve.
2.) Select “Footswitch” on the Channel Select Rotary control located above on the Rear Panel.
3.) Select the desired Channel or Feature.
FUSE :
The Nomad 45 and 55 require a fuse with a rating of 2.5 amps - while the Nomad 100 utilizes a fuse with a 3 amp rating. All
three models are fitted with Slo-Blo type fuses and should replacement be necessary in the future, replace the Fuse with the same type
and rating. For export models please contact your dealer for specifics regarding your model of Nomads’ power requirements.
Definitely warm up the tubes first with the amplifier’s HI VOLTS switch in its down position. Then
carefully watch the tubes as you flip the HI VOLTS switch to its ON position - (switch up.) If you see a
tube arc or spark inside, that is definitely the problem and can be remedied by an easy power tube
replacement. In many cases though, the bad tube will only fail intermittently. Watch for a while and if
any tubes start to run red-hot, this is the cause of your original problem. If everything appears OK, tap
on each power tube to reveal the faulty one, because a blown Fuse is nearly always caused by a bad
power tube (s). (See the section on tube maintenance further back in this manual for more assistance
and helpful hints on how to maintain the life of the power tubes).
ROTARY SELECT:
Use this Rotary Select switch when you happen to be without your Nomads’Footcontroller. Rotating this switch
allows you to select a particular channel manually.
However, in order to use the Footswitch Controller this rotary must be set to the Footswitch position.
PAGE 14
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3
FTSW
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3
FTSW
REAR PANEL CONTROLS & CONNECTIONS:
RECORDING
8 OHM 4 OHM
3 A SB
FUSE
SEND RETURN
4 OHM
CH1
CH2 CH3
FTSW
SLAVE
TO POWER AMP
USE WITH TWO 8 OHM SPKR
COMBO SPKR
SPKR SPKR
NOMAD ALL TUBE AMPLIFIER HANDBUILT IN PETALUMA, CA
SPKR ON
SPKR MUTE
10% 100%
FX MIX
FOOTSWITCH
SOCKET
BELOW
CH3 CH2 CH1
REVERB REVERB
100 WATTS
50 WATTS
6L6 BIAS EL34
CAUTION !
SWITCH MUST MATCH TUBES
WARNING : To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.
WARNING : To reduce risk of fire or electric shock,
replace fuse with same type and rating only. Do
not expose this unit to rain or moisture.No
user-serviceable parts inside. Refer
servicing to qualified personnel.

PAGE 15
REAR PANEL CONTROLS & CONNECTIONS: (Continued)
RECORDING OUT :
This1/4” jackcapturesthe soundofyour Nomads’pre-ampand shapesthesound, enablingdirectinsertion into
aconsole forbothrecording andlive reinforcementapplications.It producesa monosignaland cansend alevelthat shouldbe adequate,
if not optimum, for most mixing consoles. The level of each Channel is dependant on the Channels’
MASTER Control. Less saturated sounds will produce greater dynamics and therefor a stronger sig-
nal at this Output with Channel 1 “Normal” producing the potentially hottest level. It is always good
practicetostartwith the consoles’Input attenuator offandbringthe level up slowly - toavoiddamage
to playback monitors in case you have inadvertantly dialed up an extreme signal level.
Brightness and upper harmonics may be adjusted by the PRESENCE Control to balance the three
sounds and is especially important to great solo sounds in Channels 2 & 3.
Also,remembertousethe BASS Control with care when using theRecordingOutputtointerface to a
console. Extreme settings can potentially cause damage to your playback monitors.
SPKR ON / SPKR MUTE:
Thistwo position mini-toggle mutesthesignal at the driverstagetoallow direct recording lateatnight or
any time the sound of the speaker(s) is not apropriate. SPKR ON (up) allows the power section to receive signal and produce sound.
SPKRMUTE(down)stops the signal at the driver stage - sendingittotheRECORDING
Output only.
NOTE: For personal monitoring of your Nomad without any sound from the speaker the
RecordingOutput mayalsobe usedtodrive apair ofheaphones.Extreme cautionshould
be used to avoid damaging your ears or the headphones since the level is optimized for
consoles ...making it a bit hot for the headphone application. Start with the Channel
MASTER Controls off and slowly increase to the desired level.
BIAS SELECT - Nomad 55 & 100 Models:
Nomad 55 and 100 models incorporate a Bias select switch to enable you to use the
stock compliment of 6L6 power pentodes or switch safely to one ( or two ) pair of EL34 type tubes. Switching from the stock 6L6 harness
willrevoicetheentire amplifier with a distinct emphasis onupperharmonicsand a top
end spread that may be preferred for certain styles. The 6L6‘s provide the most bal-
anced response across the wide spectrum of sounds possible in the three channels,
but some amazing and different sounds are possible with the EL34’s and at some
point we suggest experimenting with these tubes...especially in the studio! The multi-
track domain puts less emphasis on channel switching versatility and more on spe-
cific, identifiable sounds so that any global compromise is not a problem. The EL34’s
tend to work best in all three channels when they are used in conjuntion with lower
GAIN and higher MASTER or OUTPUT Control settings...turning up the power amp
showcases their classic response best . Channel 1 in both modes is our favorite atti-
tude adjustment, with low GAIN Control settings in Channels 2 & 3 following close
behind due to slightly decreased focus - as compared with the 6L6’s.
NOTE: The BIAS SELECT MUST BE SET TO MATCH THE TUBES IN USE ! Failure to check this switch could result
in damage to your amplifier. ALWAYS CHECK THE BIAS SELECT WHEN SWAPPING TUBE TYPES !
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3FTSW
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3FTSW
SPKR ON
SPKR MUTE
6L6 BIAS EL34
CAUTION !
SWITCH MUST MATCH TUBES
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
SPKR ON
SPKR MUTE

SEND, RETURN & FX MIX:
Your Nomad is fitted with a parallel effects loop to provide optimum interfacing of outboard signal
processing.Inthis way the maximumamountof pure amp signalwithits attack character andwarmthis retained because alargeamount
of dry amp sound can be mixed with a small amount of a very wet
processed signal. To use the Effects Loop for your processors follow
these steps.
Using 2 good quality sheilded cables of the shortest possible length -
1.) Connect the SEND to your processors Input.
2.) Connect the RETURN to your processors Output.
3.) Choose your Modes and sounds in all Channels and balance the
levels with the MASTER Control.
4.) Since the MASTER Controls the amount of signal that appears at the SEND try to acheive a relative balance between the Channels
with the MASTER Control (of each respective channel) set somewhere between ( 9:00 - 1:00 ).
Adjust the overall listening level with the OUTPUT Control.
5.) Set your Processors Dry/Wet mix as close to 100% Wet ( all effect ) as possible.
6.) Dial in the amount of processed signal you wish to use with the FX MIX Control. Remember that the least amount of degradation to
your Nomads true sound will be found in the lower range of the FX MIX pot. Set as close to 10% as possible in order to retain attack and
warmth .
NOTE: Any foreign device connected to this extremely sensitive point between the pre and power stage will change the sound in some
way. The parallel Effects Loop in your Nomad will allow you to use external processing with the least compromise. Effects pedals and
External Pre-amp devices should be used in front of the amp ( Connected to the Input and not in the Effects Loop )
NOTE: Do Not Increase Gain at the Effects Loop Beyond Unity with your processors input or output controls. Doing so will connect input
tooutputandfeedbackwilloccur.Ifthishappensyouwillneedtoreduceeitherorbothuntilunitygainisreached. Certainextremesettings
ofGAIN/MASTERControlcombinationsmaynotfittheparametersofSendlevelbalancebetweenchannels.Insuchcasestrytoachieve
thesoundinadifferentchannelorsacrificeusingtheLoopforthatparticularsoundinthatchannel.Ifyoumustforacertaindevicethatyou
absolutely have to use, call us and we will send you a pot that may be of some help. Replacing the standard pot will have adverse effect
on the pure un-effected sound of your Nomad.
POWER AMP (Voicing) : Nomad 45 Only
This two position toggleswitchis a bonusfeatureand rewards those loyal tothelittlest
Nomad...thesmallbut mighty 45. Thisswitchreconfigures the negative feedbackcircuitof this littledynamoand allows two distinctpower
responses from the 4 x EL84 harness. “Normal” wires in the magic amount of negative feed-
back,producingawarm,round,bubblyresponse. Thispositioniswhereyou willfindthemost
balanced clean sounds and vocal overdrive sounds. We would suggest the Normal position
for most of your channel switching needs.
“Extreme” unleashes the fury of this aggressive mid-wattage power section and allows a
more traditional Euro style response. The early British EL84 amps barked an urgent, fast
attack and screamed with a brash, rebelious nature. Negative feedback is stripped away in
this Extreme rendition to arrive at the most forward of all Nomad personalities. This is espe-
cially showcased in the Normal mode of Channel 1, with the “PUSHED” Mode adding yet an even nastier realm of “aggro” edge.
NOTE: A Substantial Volume Increase will Occur When Switched To Extreme. Reduce The Output
Level When Switching To Extreme.
REAR PANEL CONTROLS & CONNECTIONS: (Continued)
PAGE 16
PWR AMP
NORMAL
EXTREME
CH3
REVERB
RECORDING
3 A SB
FUSE
FOOTSWITCH
SOCKET
BELOW
CH1
CH2 CH3FTSW
6L6 BIAS EL34
CAUTION !
SWITCH MUST MATCH TUBES
SPKR ON
SPKR MUTE
SEND RETURN
10% 100%
FX MIX